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hagwife's review against another edition
adventurous
challenging
dark
emotional
funny
reflective
sad
tense
slow-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? It's complicated
4.5
This book is insanely good and a read that greatly expands the audience's view of what is possible in fantasy writing. Perhaps the super short version is from Amar El-Mohtar, which described the books as "if Toni Morrison had written Ovid's Metamorphoses"(NPR, 2018). The slightly longer version starts with awe at this beautiful landscape woven out of African history and African mythology.
One of my favourite aspects of the novel is its narrative style. The entirety of the book is Tracker relaying his version of events to an inquisitor, though we never hear the inquisitor speak. As far as Tracker's story, most of that is told through conversations between characters, thus making the book almost entirely dialogue. Given that we are only receiving Tracker's version of events, there's a malleability to the story that is different from other uses of unreliable narrators. It feels less like intentionally diverting attention (Westworld) or subconsciously lying (Mr. Robot) and more so like an oral history. What is truth but the way one man saw the events and how he then chooses to remember them? And even if his version of the story doesn't match the "actual" events, what is to say that those events are any more true? This is a story where authenticity is not yoked to correctness, where truth is not an absolute because people are not absolute.
The theme of truth, the oral history style, and James' use of language combine into a worldview that feels authentic to the world in the novel. While written in English, it doesn't sound like English. James put a lot of effort into crafting a voice for his characters that sounds like a dialect, and not one where it's been translated, but one where the reader has a Star Trek-esque translation device – the characters speak and we understand. Perhaps the last novel I read where I was conscious of the amount of effort put into the way language works and how characters communicated was Zora Neal Hurston's Their Eyes Were Watching God. The fact that many readers have found it hard to read means, at least in my opinion, that James succeeded in writing pre-colonial communications with a post-colonial language. There's that has been written on this, but recently I've been thinking about a quote from wa Thiong'o's Decolonizing the mind: "language was the most important vehicle through which that power fascinated and held the soul prisoner...Language was the means of spiritual subjugation".
I also enjoy how unapologetic and frank this book is in its queerness. We see many examples of platonic love, romantic love, and sexual attraction in all its various combinations between men. These relationships and encounters are vivid and intense; for Tracker, the line between love and hate is extremely thin and are characterized by the intenseness of his feelings, of the time and energy and many ways in which Leopard and Nyka and Mossi are intertwined with his life. And this queerness is shared and explored in a way that honors and explores the broadness of masculinity and how that impacts one's identity and vice versa.
I should point out that for any test related to the treatment and inclusion of women, this novel fails, and I think that's intentional. Tracker's relationships with women are extremely fraught, and though born out of trauma, extremely unfair to generalize, as several characters point out. It's interesting, because we don't meet any women or female presenting characters who challenge Tracker's beliefs with their actions, but we're left to wonder whether that is how these characters are or how Tracker sees them. I'm extremely interested in the second book in the trilogy, which tells the same tale, but from Sogolon's perspective.
This is also an incredibly hard book to recommend. James does not care about your sensibilities, particularly if they are European or derive historically from European ones; he's not interested in White-washing events or making them more palatable. He has built a stark reality in the world of Black Leopard, Red Wolf, one that understands that you gain nothing by trying to make it pretty or talk around it. You're going to be uncomfortable and you should be uncomfortable; it's not supposed to be easy to read about violent acts or intense grief. Most importantly though, please, please, please read the content warnings and take care of yourself first and foremost.
One of my favourite aspects of the novel is its narrative style. The entirety of the book is Tracker relaying his version of events to an inquisitor, though we never hear the inquisitor speak. As far as Tracker's story, most of that is told through conversations between characters, thus making the book almost entirely dialogue. Given that we are only receiving Tracker's version of events, there's a malleability to the story that is different from other uses of unreliable narrators. It feels less like intentionally diverting attention (Westworld) or subconsciously lying (Mr. Robot) and more so like an oral history. What is truth but the way one man saw the events and how he then chooses to remember them? And even if his version of the story doesn't match the "actual" events, what is to say that those events are any more true? This is a story where authenticity is not yoked to correctness, where truth is not an absolute because people are not absolute.
The theme of truth, the oral history style, and James' use of language combine into a worldview that feels authentic to the world in the novel. While written in English, it doesn't sound like English. James put a lot of effort into crafting a voice for his characters that sounds like a dialect, and not one where it's been translated, but one where the reader has a Star Trek-esque translation device – the characters speak and we understand. Perhaps the last novel I read where I was conscious of the amount of effort put into the way language works and how characters communicated was Zora Neal Hurston's Their Eyes Were Watching God. The fact that many readers have found it hard to read means, at least in my opinion, that James succeeded in writing pre-colonial communications with a post-colonial language. There's that has been written on this, but recently I've been thinking about a quote from wa Thiong'o's Decolonizing the mind: "language was the most important vehicle through which that power fascinated and held the soul prisoner...Language was the means of spiritual subjugation".
I also enjoy how unapologetic and frank this book is in its queerness. We see many examples of platonic love, romantic love, and sexual attraction in all its various combinations between men. These relationships and encounters are vivid and intense; for Tracker, the line between love and hate is extremely thin and are characterized by the intenseness of his feelings, of the time and energy and many ways in which Leopard and Nyka and Mossi are intertwined with his life. And this queerness is shared and explored in a way that honors and explores the broadness of masculinity and how that impacts one's identity and vice versa.
I should point out that for any test related to the treatment and inclusion of women, this novel fails, and I think that's intentional. Tracker's relationships with women are extremely fraught, and though born out of trauma, extremely unfair to generalize, as several characters point out. It's interesting, because we don't meet any women or female presenting characters who challenge Tracker's beliefs with their actions, but we're left to wonder whether that is how these characters are or how Tracker sees them. I'm extremely interested in the second book in the trilogy, which tells the same tale, but from Sogolon's perspective.
This is also an incredibly hard book to recommend. James does not care about your sensibilities, particularly if they are European or derive historically from European ones; he's not interested in White-washing events or making them more palatable. He has built a stark reality in the world of Black Leopard, Red Wolf, one that understands that you gain nothing by trying to make it pretty or talk around it. You're going to be uncomfortable and you should be uncomfortable; it's not supposed to be easy to read about violent acts or intense grief. Most importantly though, please, please, please read the content warnings and take care of yourself first and foremost.
Content Warnings
Graphic: Animal death, Blood, Body horror, Body shaming, Grief, Rape, Toxic relationship, Physical abuse, Sexual harassment, Child abuse, Child death, Cursing, Gore, Murder, Sexual assault, Sexual content, Toxic friendship, Violence, Confinement, Injury/Injury detail, Misogyny, Death, Death of parent, Sexism, and Sexual violence
Moderate: Vomit, Pedophilia, Cannibalism, Kidnapping, Abandonment, Dysphoria, Fire/Fire injury, Colonisation, Domestic abuse, Excrement, and Infidelity
Minor: Drug abuse, Incest, and Drug use
This book is not written with regards to Western conventions. It does not condone or uplift violence towards others but it is also not going to shy away from the realities of such acts. You will be uncomfortable because you should be uncomfortable.testaroscia's review against another edition
3.0
This book deserved a greater effort than I gave it. Once started I just knew that if I did not (A bit like Tracker, I guess) soldier through it and not deviate to the end, I would not make it. I absolutely loved [b:A Brief History of Seven Killings|20893314|A Brief History of Seven Killings|Marlon James|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1399045083l/20893314._SY75_.jpg|40236328] and although not a avowed fantasy fan I do enjoy dipping into the genre so I was surprised when I found that this book was not gathering any traction for me. I was ready for the grime, the violence, the depressing cheapness for life. Brief History had me ready for that. However the plot never hooked me in and although appreciative of James' prose and turn of phrase I was pretty glad when I got to the end. I'll probably pass on the next one.
_maymay_be's review against another edition
adventurous
challenging
dark
emotional
mysterious
sad
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
5.0
cecile87's review against another edition
3.0
Didn’t finish it. Even after investing in the hardcopy, which I do not regret in support of the author.
But, alas, not my kind of read. Tepid about fantasy anyway, but the operatic inhumanity was too distracting for me to stick with the rest of the story. I was liking the shape-shifting leopard, even given his casual brutality—most of his seemed used to rescue or punish the deserving. But the Tracker—even with his softness for the children—his mindless brutality and that of others in the story was more than I could take. And, I am weary of brutality against women and gays, even if it is perpetrated by same—self-hatred happens. Gratuitous brutality—and of course against children as well. The writing itself is strong. Hence three stars instead of one or two. On to something else!
But, alas, not my kind of read. Tepid about fantasy anyway, but the operatic inhumanity was too distracting for me to stick with the rest of the story. I was liking the shape-shifting leopard, even given his casual brutality—most of his seemed used to rescue or punish the deserving. But the Tracker—even with his softness for the children—his mindless brutality and that of others in the story was more than I could take. And, I am weary of brutality against women and gays, even if it is perpetrated by same—self-hatred happens. Gratuitous brutality—and of course against children as well. The writing itself is strong. Hence three stars instead of one or two. On to something else!
dreaming_ace's review against another edition
4.0
There is no easy way to describe this epic novel. It is complex and layered and sad and angry and even has a bit of deep love and found family. It is filled with mature language and themes. There is much blood and death and fighting too. I have seen others describe it as hallucinationary which seems as a good term as any. I am glad that I read this book but in some ways, I would say it was a book I knew I should read more than a book I enjoyed reading.
Switching to the audiobook midway was a good idea. This is a kind of epic tale which feels like it should be spoken around a mythical campfire somewhere, where it can just sort of overcome you but where you can always jump back in when your mind wanders away for a while.
Switching to the audiobook midway was a good idea. This is a kind of epic tale which feels like it should be spoken around a mythical campfire somewhere, where it can just sort of overcome you but where you can always jump back in when your mind wanders away for a while.
espeonesque's review against another edition
Tried again, got a lot further than the last time, but the story is still just so hard to follow on audiobook. I don't know if reading it will be easier
sidharthvardhan's review against another edition
4.0
I liked the tv series based on Game of Thrones but have stayed away from book series - the food for thought and imagination per word seems too little to me in books categorised as fantasy (and they seem to so often repeat same fantasy elements) that I try to stay away from them. Anyway the bigger the book, the less likely I am to love it and all fantasy books are big. GOT won my attention due to its portrayal of underdogs and more than anything else Peter Dinklage's acting as Tyrion Lannister.
That said, the very idea of African Game of Thrones! I mean I know about fantasy elements that make culture of Europe, America, India, Arab, a few Japanese ones and even Urban Fantasy thingy. But what elements would form an African fantasy novel? What is their substitute of dragons? Or fairies? Or Zombies? Because there seems to be a sort of connection between culture of a region and it's fantasy elements.
This is why I went for BLRW. To a great extent I am satisfied. Some elements included - albinos, dismiss twins and other children born with mutations, witches, white scientists (probably from America's and Europe), people who can take form of animals, slavers etc. James' prose is a treat too - full of (often dirty) humor and the LGBT get the center stage here. Personally I think it (and McEwan's 'Machines like Me' too) should have made it to at least long list of Booker award.
The trouble with this book will be Marlon James is too much of a writer to like a sterotypical fantasy author who typically works from scene to Scene in a chronological manner and with a prose that would be unchallenging to reader even if at cost of compromising with aesthetic prose. Thus it won't probably won't win the love of those who read American fantasy genre books.
That said, the very idea of African Game of Thrones! I mean I know about fantasy elements that make culture of Europe, America, India, Arab, a few Japanese ones and even Urban Fantasy thingy. But what elements would form an African fantasy novel? What is their substitute of dragons? Or fairies? Or Zombies? Because there seems to be a sort of connection between culture of a region and it's fantasy elements.
This is why I went for BLRW. To a great extent I am satisfied. Some elements included - albinos, dismiss twins and other children born with mutations, witches, white scientists (probably from America's and Europe), people who can take form of animals, slavers etc. James' prose is a treat too - full of (often dirty) humor and the LGBT get the center stage here. Personally I think it (and McEwan's 'Machines like Me' too) should have made it to at least long list of Booker award.
The trouble with this book will be Marlon James is too much of a writer to like a sterotypical fantasy author who typically works from scene to Scene in a chronological manner and with a prose that would be unchallenging to reader even if at cost of compromising with aesthetic prose. Thus it won't probably won't win the love of those who read American fantasy genre books.
emmasnowball's review against another edition
adventurous
dark
tense
medium-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? It's complicated
2.0
I took quite a bit of time to reflect on my experience reading this before before writing a review. My feelings remain complicated, and unfortunately, quite negative. I found this to be a particularly frustrating read because James develops such a promising concept that felt needlessly sabotaged by certain stylistic and narrative choices. I also think this book was wildly mismarketed: this is not an "African Game of Thrones", and readers seeking epic fantasy may be disappointed.
James builds and explores a vivid, remarkably original folklore inspired by African mythology. I was captivated by the first page and wanted to learn more about the societies James constructed and the truly menacing monsters that plagued them. Stakes (at first) felt high, dangers real, and consequences material. The dialogue and humor, when used, was fast-paced and effective.
That is where my positive experience ended. In terms of structure and style, the prose varied inconsistently between beautifully evocative in some parts to wildly incoherent in others, especially during action sequences. As the book uses non-linear storytelling, the constant use of passive sentence structure burdens clarity of plot. I've read that James deliberately did not follow arcs to reflect the messiness of life and topple fantasy tropes---whether true or not, my ability to 'track' the action suffered for it. The characters themselves seemed to quickly lose interest in the plot , which ultimately lost urgency and became an afterthought in favor of meandering side quests.
The most offputting aspect of the book, however, was the gratuitous (often sexual) violence, scatology so ubiquitous it became boring, blatant misogyny, and characterization of queerness that was insensitive at best and offensive at worst. As a disclaimer, I recognize upfront that the narrator is a unreliable (and unlikable). I also flag that I do not balk at including graphic, traumatic themes in literature when done intentionally and cautiously. This was neither.
Graphic scenes of sexual violence seemed to be included more for shock value than narrative purpose. Physical descriptions of objects and people so often included comparisons to bodily excretions or genitalia (especially female bodies) that they became tedious. While recognizing the narrator has a sexist vantage that colors the writing, the way women were characterized was both objectifying and unpleasant. The few women included are either victims or villains, often falling into shallow tropes. While I've read in interviews that James intended to include gender fluidity in his worldbuilding, the only non-conforming characters were portrayed as sexual predators who violently assault the protagonist, traditional gender roles take precedence, and women are framed as "weak" with being feminine treated as an insult. Likewise, the narrator's exploration of his own sexuality includes internalized and externalized homophobia in ways that seemed like they were intended to shock rather than interrogate.
In brief, I wanted very much to like this book. However, I could only give two stars because the flaws outweighed the positives. By the end of the book, the frequency of graphic sexual violence and scatological language seemed like cheap and juvenile attempts at shock value. The prevalent misogyny and homophobia were deeply unpleasant to read. None of the characters were likeable, not in a way that created conflict and character development, but in a way that detracted from my personal investment in them. Since I finished reading a few months ago, I found the positive aspects of the book slipped from my memory while the sour aftertaste lingers.
James builds and explores a vivid, remarkably original folklore inspired by African mythology. I was captivated by the first page and wanted to learn more about the societies James constructed and the truly menacing monsters that plagued them. Stakes (at first) felt high, dangers real, and consequences material. The dialogue and humor, when used, was fast-paced and effective.
That is where my positive experience ended. In terms of structure and style, the prose varied inconsistently between beautifully evocative in some parts to wildly incoherent in others, especially during action sequences. As the book uses non-linear storytelling, the constant use of passive sentence structure burdens clarity of plot. I've read that James deliberately did not follow arcs to reflect the messiness of life and topple fantasy tropes---whether true or not, my ability to 'track' the action suffered for it. The characters themselves seemed to quickly lose interest in the plot , which ultimately lost urgency and became an afterthought in favor of meandering side quests.
The most offputting aspect of the book, however, was the gratuitous (often sexual) violence, scatology so ubiquitous it became boring, blatant misogyny, and characterization of queerness that was insensitive at best and offensive at worst. As a disclaimer, I recognize upfront that the narrator is a unreliable (and unlikable). I also flag that I do not balk at including graphic, traumatic themes in literature when done intentionally and cautiously. This was neither.
Graphic scenes of sexual violence seemed to be included more for shock value than narrative purpose. Physical descriptions of objects and people so often included comparisons to bodily excretions or genitalia (especially female bodies) that they became tedious. While recognizing the narrator has a sexist vantage that colors the writing, the way women were characterized was both objectifying and unpleasant. The few women included are either victims or villains, often falling into shallow tropes. While I've read in interviews that James intended to include gender fluidity in his worldbuilding, the only non-conforming characters were portrayed as sexual predators who violently assault the protagonist, traditional gender roles take precedence, and women are framed as "weak" with being feminine treated as an insult. Likewise, the narrator's exploration of his own sexuality includes internalized and externalized homophobia in ways that seemed like they were intended to shock rather than interrogate.
In brief, I wanted very much to like this book. However, I could only give two stars because the flaws outweighed the positives. By the end of the book, the frequency of graphic sexual violence and scatological language seemed like cheap and juvenile attempts at shock value. The prevalent misogyny and homophobia were deeply unpleasant to read. None of the characters were likeable, not in a way that created conflict and character development, but in a way that detracted from my personal investment in them. Since I finished reading a few months ago, I found the positive aspects of the book slipped from my memory while the sour aftertaste lingers.
Content Warnings
Graphic: Sexual content, Violence, Excrement, Misogyny, Sexual assault, Animal cruelty, Torture, Physical abuse, Body horror, Death, Homophobia, Gore, Rape, Sexism, and Child abuse
tink's review against another edition
Less than a dozen pages in and I've decided not to proceed with this one.
The storyline sounds excellent, the language is too violent for me.
The storyline sounds excellent, the language is too violent for me.