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steveatwaywords's reviews
1140 reviews
The Vinland Sagas: The Norse Discovery of America by Unknown
adventurous
informative
medium-paced
3.0
This book is a handy read of the "original" two Viking sagas which document Leif Erikson's white discovery of America around 1000 CE. Neither of the sagas was written during the time of the discovery (true of so much of our classical and medieval-era history!), but the hefty introduction to this work (nearly 50 pages) accounts for the verification of the documents, their own history and translation, and archaeological and other scientific evidence which leads us to support their veracity.
Here's the thing. This Penguin edition is from the mid-1960s, so the introduction is quite dated, and so much evidence in all these camps has been accumulated since then that I felt I was reading a fair amount of speculation for its day. (Later evidence has more fully supported the events, of course.)
The readings of the sagas themselves, then, are what I recommend, and each is brief and readable in a short sitting. They vary in details (and focus by their writers), and you can easily see the challenges they had in relating a valid history and developing a communal ethic vs merely relating a listenable tale. The saga, of course, had to accomplish all of these, so dividing fact from entertaining tale-telling is part of the challenge, though historical maps of the time also verify the events of the travel.
Its unfortunate that more recent writers have both further verified the story and also added a new level of conspiracy-theory to the explorations, some suggesting that the Vikings reached as far as Minnesota (please please don't ask or give them an ear).
Instead, then, if you come across this, read the sagas themselves, but before and afterwards, dig a bit into what we now know of their writing and veracity rather than read the outdated material here or sensationalized documentaries today!
Here's the thing. This Penguin edition is from the mid-1960s, so the introduction is quite dated, and so much evidence in all these camps has been accumulated since then that I felt I was reading a fair amount of speculation for its day. (Later evidence has more fully supported the events, of course.)
The readings of the sagas themselves, then, are what I recommend, and each is brief and readable in a short sitting. They vary in details (and focus by their writers), and you can easily see the challenges they had in relating a valid history and developing a communal ethic vs merely relating a listenable tale. The saga, of course, had to accomplish all of these, so dividing fact from entertaining tale-telling is part of the challenge, though historical maps of the time also verify the events of the travel.
Its unfortunate that more recent writers have both further verified the story and also added a new level of conspiracy-theory to the explorations, some suggesting that the Vikings reached as far as Minnesota (please please don't ask or give them an ear).
Instead, then, if you come across this, read the sagas themselves, but before and afterwards, dig a bit into what we now know of their writing and veracity rather than read the outdated material here or sensationalized documentaries today!
Something is Killing the Children, Vol. 7 by James Tynion IV
adventurous
dark
tense
fast-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? No
3.0
First, this review is actually about Volumes 4-7 which track the entire Trepidation story cycle. I wanted to complete this series before completing the review. And this review is repeated on all four Volumes, 4-7.
I should say, too, that I generally like Tynion's works, especially his horror stuff, for its original conception and decent character design. So in some ways, I am comparing Something is Killing the Children to his darker DC stuff, The Woods, Nice House on the Lake, and The Department of Truth.
I know that this series is routinely given great praise by critics and fans. Even so, my strengths and flaws from the first three volumes are here in these works with minor variations: largely, the stories are quite gory (and since many victims are children, not for the meek) and, unfortunately, this is the focus of the horror, kind of a one-trick pony. Because this is not wholly sustainable across the series, then, Tynion offers us the major sub-plot (really enhanced in this series) of a secret cabal of monster hunters and the amoral politics which drives it. Our hero, Erica, of course, sits apart from its corruption, which makes her a kind of horror-noir lone gunman for America monster-hunting. It's an interesting idea (especially since she is not emotionally whole, either). Like King's Gunslinger series, a lot of the best action in Tynion mirrors the duller sequences of storytelling in King. And, like a decent George R R Martin, Tynion makes no promises which characters will survive any scene. I should note, too, that the artwork by Dell'Edera and Muerto is startlingly good.
Overall, this storyline is more developed in the political intrigue, but often at the cost of the monster lore. Our most terrifying monster yet, especially in its last incarnation, is given precious few frames of development or interest. Mindless and ruthless, it appears in order to squash or be squashed. Tynion allows the artwork to carry this horror. So much for the monster-hunting. And this will explain why the entire Volume 7 is mostly given to action-based silent boss-battles.
Even so, Tynion's best volume is probably the 4th, the "interim" series which looks back at Erica's backstory and initiation and helps us see the relationships she has built and will grow. We learn more, too, about the toy totems the hunters carry and some of the motivations between competing schools in the secret society. But . . . and this is a big but for me, a lot of it has all the import of learning why Han Solo has fuzzy dice on the Millennium Falcon. Just because we can create back stories and answer plot-level questions about the "How-did-this-happen?" and "What-happens-to-character-x?" doesn't mean that we automatically have good story or good writing. At its base, and at its summit, the "Something is Killing" series is a solid horror-action story with visually fascinating characters. And if that's all you're looking for--you don't want to ask questions about child death, about the nature of horror, or even the lore of psychological projection and daemon/demon guides, all within easy reach of the storyteller--you will be satisfied.
I should say, too, that I generally like Tynion's works, especially his horror stuff, for its original conception and decent character design. So in some ways, I am comparing Something is Killing the Children to his darker DC stuff, The Woods, Nice House on the Lake, and The Department of Truth.
I know that this series is routinely given great praise by critics and fans. Even so, my strengths and flaws from the first three volumes are here in these works with minor variations: largely, the stories are quite gory (and since many victims are children, not for the meek) and, unfortunately, this is the focus of the horror, kind of a one-trick pony. Because this is not wholly sustainable across the series, then, Tynion offers us the major sub-plot (really enhanced in this series) of a secret cabal of monster hunters and the amoral politics which drives it. Our hero, Erica, of course, sits apart from its corruption, which makes her a kind of horror-noir lone gunman for America monster-hunting. It's an interesting idea (especially since she is not emotionally whole, either). Like King's Gunslinger series, a lot of the best action in Tynion mirrors the duller sequences of storytelling in King. And, like a decent George R R Martin, Tynion makes no promises which characters will survive any scene. I should note, too, that the artwork by Dell'Edera and Muerto is startlingly good.
Overall, this storyline is more developed in the political intrigue, but often at the cost of the monster lore. Our most terrifying monster yet, especially in its last incarnation, is given precious few frames of development or interest. Mindless and ruthless, it appears in order to squash or be squashed. Tynion allows the artwork to carry this horror. So much for the monster-hunting. And this will explain why the entire Volume 7 is mostly given to action-based silent boss-battles.
Even so, Tynion's best volume is probably the 4th, the "interim" series which looks back at Erica's backstory and initiation and helps us see the relationships she has built and will grow. We learn more, too, about the toy totems the hunters carry and some of the motivations between competing schools in the secret society. But . . . and this is a big but for me, a lot of it has all the import of learning why Han Solo has fuzzy dice on the Millennium Falcon. Just because we can create back stories and answer plot-level questions about the "How-did-this-happen?" and "What-happens-to-character-x?" doesn't mean that we automatically have good story or good writing. At its base, and at its summit, the "Something is Killing" series is a solid horror-action story with visually fascinating characters. And if that's all you're looking for--you don't want to ask questions about child death, about the nature of horror, or even the lore of psychological projection and daemon/demon guides, all within easy reach of the storyteller--you will be satisfied.
Content Warnings
Graphic: Injury/Injury detail, Child death, Death, and Violence
Something is Killing the Children Vol. 6 by James Tynion IV
adventurous
dark
tense
fast-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? No
3.0
First, this review is actually about Volumes 4-7 which track the entire Trepidation story cycle. I wanted to complete this series before completing the review. And this review is repeated on all four Volumes, 4-7.
I should say, too, that I generally like Tynion's works, especially his horror stuff, for its original conception and decent character design. So in some ways, I am comparing Something is Killing the Children to his darker DC stuff, The Woods, Nice House on the Lake, and The Department of Truth.
I know that this series is routinely given great praise by critics and fans. Even so, my strengths and flaws from the first three volumes are here in these works with minor variations: largely, the stories are quite gory (and since many victims are children, not for the meek) and, unfortunately, this is the focus of the horror, kind of a one-trick pony. Because this is not wholly sustainable across the series, then, Tynion offers us the major sub-plot (really enhanced in this series) of a secret cabal of monster hunters and the amoral politics which drives it. Our hero, Erica, of course, sits apart from its corruption, which makes her a kind of horror-noir lone gunman for America monster-hunting. It's an interesting idea (especially since she is not emotionally whole, either). Like King's Gunslinger series, a lot of the best action in Tynion mirrors the duller sequences of storytelling in King. And, like a decent George R R Martin, Tynion makes no promises which characters will survive any scene. I should note, too, that the artwork by Dell'Edera and Muerto is startlingly good.
Overall, this storyline is more developed in the political intrigue, but often at the cost of the monster lore. Our most terrifying monster yet, especially in its last incarnation, is given precious few frames of development or interest. Mindless and ruthless, it appears in order to squash or be squashed. Tynion allows the artwork to carry this horror. So much for the monster-hunting. And this will explain why the entire Volume 7 is mostly given to action-based silent boss-battles.
Even so, Tynion's best volume is probably the 4th, the "interim" series which looks back at Erica's backstory and initiation and helps us see the relationships she has built and will grow. We learn more, too, about the toy totems the hunters carry and some of the motivations between competing schools in the secret society. But . . . and this is a big but for me, a lot of it has all the import of learning why Han Solo has fuzzy dice on the Millennium Falcon. Just because we can create back stories and answer plot-level questions about the "How-did-this-happen?" and "What-happens-to-character-x?" doesn't mean that we automatically have good story or good writing. At its base, and at its summit, the "Something is Killing" series is a solid horror-action story with visually fascinating characters. And if that's all you're looking for--you don't want to ask questions about child death, about the nature of horror, or even the lore of psychological projection and daemon/demon guides, all within easy reach of the storyteller--you will be satisfied.
I should say, too, that I generally like Tynion's works, especially his horror stuff, for its original conception and decent character design. So in some ways, I am comparing Something is Killing the Children to his darker DC stuff, The Woods, Nice House on the Lake, and The Department of Truth.
I know that this series is routinely given great praise by critics and fans. Even so, my strengths and flaws from the first three volumes are here in these works with minor variations: largely, the stories are quite gory (and since many victims are children, not for the meek) and, unfortunately, this is the focus of the horror, kind of a one-trick pony. Because this is not wholly sustainable across the series, then, Tynion offers us the major sub-plot (really enhanced in this series) of a secret cabal of monster hunters and the amoral politics which drives it. Our hero, Erica, of course, sits apart from its corruption, which makes her a kind of horror-noir lone gunman for America monster-hunting. It's an interesting idea (especially since she is not emotionally whole, either). Like King's Gunslinger series, a lot of the best action in Tynion mirrors the duller sequences of storytelling in King. And, like a decent George R R Martin, Tynion makes no promises which characters will survive any scene. I should note, too, that the artwork by Dell'Edera and Muerto is startlingly good.
Overall, this storyline is more developed in the political intrigue, but often at the cost of the monster lore. Our most terrifying monster yet, especially in its last incarnation, is given precious few frames of development or interest. Mindless and ruthless, it appears in order to squash or be squashed. Tynion allows the artwork to carry this horror. So much for the monster-hunting. And this will explain why the entire Volume 7 is mostly given to action-based silent boss-battles.
Even so, Tynion's best volume is probably the 4th, the "interim" series which looks back at Erica's backstory and initiation and helps us see the relationships she has built and will grow. We learn more, too, about the toy totems the hunters carry and some of the motivations between competing schools in the secret society. But . . . and this is a big but for me, a lot of it has all the import of learning why Han Solo has fuzzy dice on the Millennium Falcon. Just because we can create back stories and answer plot-level questions about the "How-did-this-happen?" and "What-happens-to-character-x?" doesn't mean that we automatically have good story or good writing. At its base, and at its summit, the "Something is Killing" series is a solid horror-action story with visually fascinating characters. And if that's all you're looking for--you don't want to ask questions about child death, about the nature of horror, or even the lore of psychological projection and daemon/demon guides, all within easy reach of the storyteller--you will be satisfied.
Content Warnings
Graphic: Child death, Death, Injury/Injury detail, and Violence
Something is Killing the Children Vol. 5 by James Tynion IV
adventurous
dark
tense
fast-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
3.5
First, this review is actually about Volumes 4-7 which track the entire Trepidation story cycle. I wanted to complete this series before completing the review. And this review is repeated on all four Volumes, 4-7.
I should say, too, that I generally like Tynion's works, especially his horror stuff, for its original conception and decent character design. So in some ways, I am comparing Something is Killing the Children to his darker DC stuff, The Woods, Nice House on the Lake, and The Department of Truth.
I know that this series is routinely given great praise by critics and fans. Even so, my strengths and flaws from the first three volumes are here in these works with minor variations: largely, the stories are quite gory (and since many victims are children, not for the meek) and, unfortunately, this is the focus of the horror, kind of a one-trick pony. Because this is not wholly sustainable across the series, then, Tynion offers us the major sub-plot (really enhanced in this series) of a secret cabal of monster hunters and the amoral politics which drives it. Our hero, Erica, of course, sits apart from its corruption, which makes her a kind of horror-noir lone gunman for America monster-hunting. It's an interesting idea (especially since she is not emotionally whole, either). Like King's Gunslinger series, a lot of the best action in Tynion mirrors the duller sequences of storytelling in King. And, like a decent George R R Martin, Tynion makes no promises which characters will survive any scene. I should note, too, that the artwork by Dell'Edera and Muerto is startlingly good.
Overall, this storyline is more developed in the political intrigue, but often at the cost of the monster lore. Our most terrifying monster yet, especially in its last incarnation, is given precious few frames of development or interest. Mindless and ruthless, it appears in order to squash or be squashed. Tynion allows the artwork to carry this horror. So much for the monster-hunting. And this will explain why the entire Volume 7 is mostly given to action-based silent boss-battles.
Even so, Tynion's best volume is probably the 4th, the "interim" series which looks back at Erica's backstory and initiation and helps us see the relationships she has built and will grow. We learn more, too, about the toy totems the hunters carry and some of the motivations between competing schools in the secret society. But . . . and this is a big but for me, a lot of it has all the import of learning why Han Solo has fuzzy dice on the Millennium Falcon. Just because we can create back stories and answer plot-level questions about the "How-did-this-happen?" and "What-happens-to-character-x?" doesn't mean that we automatically have good story or good writing. At its base, and at its summit, the "Something is Killing" series is a solid horror-action story with visually fascinating characters. And if that's all you're looking for--you don't want to ask questions about child death, about the nature of horror, or even the lore of psychological projection and daemon/demon guides, all within easy reach of the storyteller--you will be satisfied.
I should say, too, that I generally like Tynion's works, especially his horror stuff, for its original conception and decent character design. So in some ways, I am comparing Something is Killing the Children to his darker DC stuff, The Woods, Nice House on the Lake, and The Department of Truth.
I know that this series is routinely given great praise by critics and fans. Even so, my strengths and flaws from the first three volumes are here in these works with minor variations: largely, the stories are quite gory (and since many victims are children, not for the meek) and, unfortunately, this is the focus of the horror, kind of a one-trick pony. Because this is not wholly sustainable across the series, then, Tynion offers us the major sub-plot (really enhanced in this series) of a secret cabal of monster hunters and the amoral politics which drives it. Our hero, Erica, of course, sits apart from its corruption, which makes her a kind of horror-noir lone gunman for America monster-hunting. It's an interesting idea (especially since she is not emotionally whole, either). Like King's Gunslinger series, a lot of the best action in Tynion mirrors the duller sequences of storytelling in King. And, like a decent George R R Martin, Tynion makes no promises which characters will survive any scene. I should note, too, that the artwork by Dell'Edera and Muerto is startlingly good.
Overall, this storyline is more developed in the political intrigue, but often at the cost of the monster lore. Our most terrifying monster yet, especially in its last incarnation, is given precious few frames of development or interest. Mindless and ruthless, it appears in order to squash or be squashed. Tynion allows the artwork to carry this horror. So much for the monster-hunting. And this will explain why the entire Volume 7 is mostly given to action-based silent boss-battles.
Even so, Tynion's best volume is probably the 4th, the "interim" series which looks back at Erica's backstory and initiation and helps us see the relationships she has built and will grow. We learn more, too, about the toy totems the hunters carry and some of the motivations between competing schools in the secret society. But . . . and this is a big but for me, a lot of it has all the import of learning why Han Solo has fuzzy dice on the Millennium Falcon. Just because we can create back stories and answer plot-level questions about the "How-did-this-happen?" and "What-happens-to-character-x?" doesn't mean that we automatically have good story or good writing. At its base, and at its summit, the "Something is Killing" series is a solid horror-action story with visually fascinating characters. And if that's all you're looking for--you don't want to ask questions about child death, about the nature of horror, or even the lore of psychological projection and daemon/demon guides, all within easy reach of the storyteller--you will be satisfied.
Content Warnings
Graphic: Child death, Violence, Injury/Injury detail, and Death
Something is Killing the Children, Vol. 4 by James Tynion IV
adventurous
dark
emotional
mysterious
tense
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
3.75
First, this review is actually about Volumes 4-7 which track the entire Trepidation story cycle. I wanted to complete this series before completing the review. And this review is repeated on all four Volumes, 4-7.
I should say, too, that I generally like Tynion's works, especially his horror stuff, for its original conception and decent character design. So in some ways, I am comparing <i>Something is Killing the Children</i> to his darker DC stuff, <i>The Woods, Nice House on the Lake, and The Department of Truth. </i>
I know that this series is routinely given great praise by critics and fans. Even so, my strengths and flaws from the first three volumes are here in these works with minor variations: largely, the stories are quite gory (and since many victims are children, not for the meek) and, unfortunately, this is the focus of the horror, kind of a one-trick pony. Because this is not wholly sustainable across the series, then, Tynion offers us the major sub-plot (really enhanced in this series) of a secret cabal of monster hunters and the amoral politics which drives it. Our hero, Erica, of course, sits apart from its corruption, which makes her a kind of horror-noir lone gunman for America monster-hunting. It's an interesting idea (especially since she is not emotionally whole, either). Like King's Gunslinger series, a lot of the best action in Tynion mirrors the duller sequences of storytelling in King. And, like a decent George R R Martin, Tynion makes no promises which characters will survive any scene. I should note, too, that the artwork by Dell'Edera and Muerto is startlingly good.
Overall, this storyline is more developed in the political intrigue, but often at the cost of the monster lore. Our most terrifying monster yet, especially in its last incarnation, is given precious few frames of development or interest. Mindless and ruthless, it appears in order to squash or be squashed. Tynion allows the artwork to carry this horror. So much for the monster-hunting. And this will explain why the entire Volume 7 is mostly given to action-based silent boss-battles.
Even so, Tynion's best volume is probably the 4th, the "interim" series which looks back at Erica's backstory and initiation and helps us see the relationships she has built and will grow. We learn more, too, about the toy totems the hunters carry and some of the motivations between competing schools in the secret society. But . . . and this is a big but for me, a lot of it has all the import of learning why Han Solo has fuzzy dice on the Millennium Falcon. Just because we can create back stories and answer plot-level questions about the "How-did-this-happen?" and "What-happens-to-character-x?" doesn't mean that we automatically have good story or good writing. At its base, and at its summit, the "Something is Killing" series is a solid horror-action story with visually fascinating characters. And if that's all you're looking for--you don't want to ask questions about child death, about the nature of horror, or even the lore of psychological projection and daemon/demon guides, all within easy reach of the storyteller--you will be satisfied.
I should say, too, that I generally like Tynion's works, especially his horror stuff, for its original conception and decent character design. So in some ways, I am comparing <i>Something is Killing the Children</i> to his darker DC stuff, <i>The Woods, Nice House on the Lake, and The Department of Truth. </i>
I know that this series is routinely given great praise by critics and fans. Even so, my strengths and flaws from the first three volumes are here in these works with minor variations: largely, the stories are quite gory (and since many victims are children, not for the meek) and, unfortunately, this is the focus of the horror, kind of a one-trick pony. Because this is not wholly sustainable across the series, then, Tynion offers us the major sub-plot (really enhanced in this series) of a secret cabal of monster hunters and the amoral politics which drives it. Our hero, Erica, of course, sits apart from its corruption, which makes her a kind of horror-noir lone gunman for America monster-hunting. It's an interesting idea (especially since she is not emotionally whole, either). Like King's Gunslinger series, a lot of the best action in Tynion mirrors the duller sequences of storytelling in King. And, like a decent George R R Martin, Tynion makes no promises which characters will survive any scene. I should note, too, that the artwork by Dell'Edera and Muerto is startlingly good.
Overall, this storyline is more developed in the political intrigue, but often at the cost of the monster lore. Our most terrifying monster yet, especially in its last incarnation, is given precious few frames of development or interest. Mindless and ruthless, it appears in order to squash or be squashed. Tynion allows the artwork to carry this horror. So much for the monster-hunting. And this will explain why the entire Volume 7 is mostly given to action-based silent boss-battles.
Even so, Tynion's best volume is probably the 4th, the "interim" series which looks back at Erica's backstory and initiation and helps us see the relationships she has built and will grow. We learn more, too, about the toy totems the hunters carry and some of the motivations between competing schools in the secret society. But . . . and this is a big but for me, a lot of it has all the import of learning why Han Solo has fuzzy dice on the Millennium Falcon. Just because we can create back stories and answer plot-level questions about the "How-did-this-happen?" and "What-happens-to-character-x?" doesn't mean that we automatically have good story or good writing. At its base, and at its summit, the "Something is Killing" series is a solid horror-action story with visually fascinating characters. And if that's all you're looking for--you don't want to ask questions about child death, about the nature of horror, or even the lore of psychological projection and daemon/demon guides, all within easy reach of the storyteller--you will be satisfied.
Content Warnings
Graphic: Injury/Injury detail, Body horror, Violence, Child death, and Death
Skim by Mariko Tamaki
challenging
dark
emotional
reflective
sad
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
Skim is a story of young women and misunderstanding, of challenges to compassion and walls against love, of the gulfs between death and alienation, of all of us stumbling ahead nonetheless. Insecurity is near the heart of Tamaki's characters who casually lash out and judge the behaviors of difference, but it is an insecurity nonetheless paired with longing. There is no clear path to love, and tentative overtures are as likely to be lost as tragically fulfilled.
While the stark black and white illustration work complements the bleakness of the story and the divisions between characters, I wondered at points whether greyer tones might better represent the quiet quests of these students against the public performative nonsense the mainstream offers.
Tamaki takes on the misunderstandings we have as people, not merely adolescents, around our discussions of suicide, of enmity, of community. And we must not expect pat or final answers to any of it; quite the opposite. We just keep moving forward as best we can.
While the stark black and white illustration work complements the bleakness of the story and the divisions between characters, I wondered at points whether greyer tones might better represent the quiet quests of these students against the public performative nonsense the mainstream offers.
Tamaki takes on the misunderstandings we have as people, not merely adolescents, around our discussions of suicide, of enmity, of community. And we must not expect pat or final answers to any of it; quite the opposite. We just keep moving forward as best we can.
Content Warnings
Graphic: Grief, Suicidal thoughts, Toxic friendship, and Toxic relationship
Moderate: Self harm, Adult/minor relationship, Body shaming, Suicide, and Fatphobia
There is no graphic depiction of harm, death, or sexual situations, but these questions dominate the plot.
Work & Days by Tess Taylor
challenging
emotional
hopeful
inspiring
mysterious
reflective
relaxing
medium-paced
4.5
I've never considered myself a fan of pastoral poetry, but Taylor has very nearly converted me in this brief collection. Taking place across a single year of farmwork, Taylor offers sumptuous imagery of life and loss, mud and leaf, and the hands which work all of it. This alone would be beautiful reading, but what captured me is her difficult turning to the world without, the dangers to environment and the violence we wreak upon ourselves, the technology which alienates and our attention which fails.
Somehow, from poems "Apocalypto"-like to mere reveries on choice, Taylor's speaker returns again and again to the earth, this microcosm which reveals what we need, even while its experience is more and more difficult to find.
As much confession as manifesto, we are left wondering how anyone could do aught else but scrape the mud from our boots, pry apart a seedpod, caress the harvest, smile while the earth sleeps waiting.
Somehow, from poems "Apocalypto"-like to mere reveries on choice, Taylor's speaker returns again and again to the earth, this microcosm which reveals what we need, even while its experience is more and more difficult to find.
As much confession as manifesto, we are left wondering how anyone could do aught else but scrape the mud from our boots, pry apart a seedpod, caress the harvest, smile while the earth sleeps waiting.
Content Warnings
Minor: War, Violence, and Mental illness
Empire Star by Samuel R. Delany
adventurous
challenging
mysterious
reflective
fast-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
This novella, fairly fast-moving, has the hallmarks of Delany's experimental narrative structure: this time one which reflects the type of intelligence of its alien narrator, not contemporary human readers. It's difficult to remember that the sometimes jarring moments or unexplained details are relevant experiences related to that narrator (and to the story's close). As ever, trust the author to fulfill his promise to make the experience worthwhile!
And the close of the work does reveal a relevance unlooked for, yet before us all along. It's a clever "tying together" of threads, a "whoa" moment, but once accomplished, it loses its impact a bit, especially after the last 30 years of science fiction storytelling. Like any mystery novel, I was not convinced I had been given sufficient clues to anticipate or discover what was ahead, especially as to the nature of the title reference itself. As one character asks near the end of the book, "You mean you don't know what Empire Star is?" Well, no, of course the character (nor we!) do!
Nevertheless, the original premise of narrative structure paired against different types of intelligence levels (for instance, a kind of cat has a higher level intelligence than some humans, and understandably so!) is intriguing and a fairly bold statement about the nature of thinking. Species is not a determiner of intelligence: use of intelligence is its own measure.
Short, fun, satisfying, and an author I must return to many more times.
And the close of the work does reveal a relevance unlooked for, yet before us all along. It's a clever "tying together" of threads, a "whoa" moment, but once accomplished, it loses its impact a bit, especially after the last 30 years of science fiction storytelling. Like any mystery novel, I was not convinced I had been given sufficient clues to anticipate or discover what was ahead, especially as to the nature of the title reference itself. As one character asks near the end of the book, "You mean you don't know what Empire Star is?" Well, no, of course the character (nor we!) do!
Nevertheless, the original premise of narrative structure paired against different types of intelligence levels (for instance, a kind of cat has a higher level intelligence than some humans, and understandably so!) is intriguing and a fairly bold statement about the nature of thinking. Species is not a determiner of intelligence: use of intelligence is its own measure.
Short, fun, satisfying, and an author I must return to many more times.
Content Warnings
Graphic: Slavery
Moderate: Xenophobia and Torture
Prophet Song by Paul Lynch
challenging
dark
emotional
sad
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
Much heat around this novel, a Booker winner nonetheless, and I can understand the perspectives from both sides, most carrying loads of presumption about what a reading experience should be. I prefer, so much as I can, to allow each book to speak to its purpose on its own terms, and then my reviews mark it to how well it was accomplished.
To begin, I too, was off-put by the novel's style, at first: massive single-paragraph blocks with dialogue mashed in, the craftings of image or moment buried in unlooked-for details somewhere inside them. What was Lynch thinking? Shouldn't this be a gripping story of terror as a family falls victim to a growing autocracy and war?
Yes, it is. Claustrophobic, even suffocating, experiences a monumental blur, every event of life piled on top of another demanding our attention with equal fervor, who are we to understand and sort it out? This sense of overwhelm, as so many of us experienced during the politics of the pandemic, is tripled here. In brief, this is as much a reading experience as it is a literary novel of plot and theme.
Little need to detail the events of this woman whose men (father, husband, sons) are swept away by various circumstances to places dark and uncertain. Desperately she accepts her role of holding her family together, and at some point (you decide when but we will all disagree) her noble strength becomes ignorant folly. As the country and family slip apart, as the four children each suffer their trauma in unique ways, as tightly as the narrative camera focuses in on her, we see how easily--how anonymously--she might become a statistic of war, her story lost, disappeared.
And this growing tension is absolutely relentless. We might argue how many choices were actually available, about what sacrifices would "reasonably" be made when all is unreasonable. We might even argue responsibility for the suffering. But we will agree: the events are entirely too plausible, too hyperreal, too close to our fears and too (f)actual for communities who do suffer (and against whom we build walls).
Build what you want. Lynch takes these walls apart, and some of us will still not believe.
To begin, I too, was off-put by the novel's style, at first: massive single-paragraph blocks with dialogue mashed in, the craftings of image or moment buried in unlooked-for details somewhere inside them. What was Lynch thinking? Shouldn't this be a gripping story of terror as a family falls victim to a growing autocracy and war?
Yes, it is. Claustrophobic, even suffocating, experiences a monumental blur, every event of life piled on top of another demanding our attention with equal fervor, who are we to understand and sort it out? This sense of overwhelm, as so many of us experienced during the politics of the pandemic, is tripled here. In brief, this is as much a reading experience as it is a literary novel of plot and theme.
Little need to detail the events of this woman whose men (father, husband, sons) are swept away by various circumstances to places dark and uncertain. Desperately she accepts her role of holding her family together, and at some point (you decide when but we will all disagree) her noble strength becomes ignorant folly. As the country and family slip apart, as the four children each suffer their trauma in unique ways, as tightly as the narrative camera focuses in on her, we see how easily--how anonymously--she might become a statistic of war, her story lost, disappeared.
And this growing tension is absolutely relentless. We might argue how many choices were actually available, about what sacrifices would "reasonably" be made when all is unreasonable. We might even argue responsibility for the suffering. But we will agree: the events are entirely too plausible, too hyperreal, too close to our fears and too (f)actual for communities who do suffer (and against whom we build walls).
Build what you want. Lynch takes these walls apart, and some of us will still not believe.
Content Warnings
Graphic: Police brutality, Medical content, Injury/Injury detail, Child death, War, Violence, Torture, Hate crime, Grief, Death, and Blood
Moderate: Dementia
Collected Poems by James Joyce
dark
emotional
reflective
sad
fast-paced
- Plot- or character-driven? N/A
- Strong character development? No
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.0
Having read nearly all of Joyce's prose fairly recently, I understand now why so few praise his verse. It's odd, because it seems to me that Joyce did not spend half the reflected time considering structure and language of verse in the same manner as he approaches his prosaic narrative structures or philosophies of language use.
For that, then, this collection is eminently approachable by virtually all readers, easier to absorb even than Dubliners, which I suspect is a relief to many. But this places him in the broad realm of traditional (and often mediocre) poets, having little original to say and little said in an original way. The first collection (or single major work) is called "Chamber Music," and it is a long series of short poems which might be read together as the rise and debilitation of a romantic relationship. Each speaks much as one of the Romantic Age might predict.
Only the second section, "Pomes Penyeach" begins to approach the linguistic anxiety and passion which we find in his prose. Even here, however, the works are so brief as to feel experiments or tentative reaches into nuance. Joyce, oddly, is uncertain in his steps, less certain of what he believes his verse might convey. The final poem, "Ecce Puer," feels conclusive only in its dismal tone so far difference from the rest of the collection.
What are we to make of this? We know that Ezra Pound would not publish many of these (not in and of itself a condemnation, however). What we have is writing for a Joyce completionist (that would be me) but a reading as curiosity more than illumination.
For that, then, this collection is eminently approachable by virtually all readers, easier to absorb even than Dubliners, which I suspect is a relief to many. But this places him in the broad realm of traditional (and often mediocre) poets, having little original to say and little said in an original way. The first collection (or single major work) is called "Chamber Music," and it is a long series of short poems which might be read together as the rise and debilitation of a romantic relationship. Each speaks much as one of the Romantic Age might predict.
Only the second section, "Pomes Penyeach" begins to approach the linguistic anxiety and passion which we find in his prose. Even here, however, the works are so brief as to feel experiments or tentative reaches into nuance. Joyce, oddly, is uncertain in his steps, less certain of what he believes his verse might convey. The final poem, "Ecce Puer," feels conclusive only in its dismal tone so far difference from the rest of the collection.
What are we to make of this? We know that Ezra Pound would not publish many of these (not in and of itself a condemnation, however). What we have is writing for a Joyce completionist (that would be me) but a reading as curiosity more than illumination.