skygiants

skygiants @ 2026-04-19T08:26:00

2026-04-19T18:19:54Z

I've been meaning for months to write up Knight Flower, the Joseon-era kdrama about a RESPECTABLE WIDOW BY DAY, VIGILANTE BY NIGHT who spends her days dutifully kneeling by her husband's portrait and serving her mother-in-law and her nights running around town in a black mask dispensing justice by the sword.

I enjoyed this drama very much, but it's kind of an odd beast -- it's genuinely interested in the awful constraints on Joseon's women's worlds and widow's worlds in particular and wants to explore that seriously, and it also wants have our heroine be extremely cool and fight off five guys in an alley every episode and toss off a one-liner about it, and it also wants our [middle-aged! widow!] heroine to be a charming sitcom naif who gets comically overcome by the sight of a man's midriff and is shocked! shocked! to learn about some of the various injustices going on in Joseon despite the fact that she's been wandering the streets dispensing vigilante justice for ten years. (They attempt to square some of this circle by virtue of the fact that our heroine's arranged husband was killed! by bandits! on his very wedding day! and so she has spent ten years dutifully mourning a man she never actually met, let alone slept with.)

And because Lee Hanee is a talented actress, she can almost more or less pull all of that off and make RESPECTABLE WIDOW SECRET VIGILANTE JO YEO-HWA a coherent character -- helped in large part by the various interesting women around her, including:

- Yeo-hwa's hard-nosed and cynical teenaged maid, whom Yeo-hwa rescued off the streets as a teenager, and who has spent her years since then in the single-minded pursuit of enough money for An Independent Place, which she is going to move into JUST as soon as her chaotic mistress to whom she is unfortunately absolutely loyal is Out Of This Fucking House and No Longer Doing This Stupid Vigilante Shit
- Yeo-hwa's mother-in-law, who holds Yeo-hwa harshly to the extremely narrow line of conduct allowed for widows [go nowhere; speak to no one; serve your husband's family; accept that it's an embarrassment for you to be alive when your husband is dead] and sees her largely as a walking reputational vector for the family -- but hey, at least she would never pressure Yeo-hwa to commit honorable suicide, like some other mother-in-laws-of-widows of their acquaintance, so that's something! In any other drama this character would be a cruel stereotype but in this drama she's played by Kim Mi-kyung with sympathy and complexity; she's the immediate bane of Yeo-hwa's life, and nonetheless she and Yeo-hwa have spent a decade bound together as family with a kind of affection, and Yeo-hwa understands perfectly well that her mother-in-law is also trapped by the only rules she knows
- Yeo-hwa's business partner and accomplice, a merchant whom Yeo-hwa also rescued on the streets and who has also spent the time since then like You Could Just Leave This Fucking House, I will prepare a fake identity for you, it won't be hard
- the main female villain, ( who is somewhat of a spoiler though this all starts to come out pretty early on )

Obviously Jo Yeo-hwa also has a love interest. He's an honorable baby cop who wants to fight corruption and also has a backstory tied up in the ten-years-ago political plot. He's completely fine. His older brother, an upright schemer who's been helping the virtuous king lay long-term plots to take back control from his evil ministers,* has an very cute B-plot bookstore romance with the cynical maid that I frankly found much more compelling in the glimpses of it that we got. More compelling yet ( is spoilers again! )

*there's nothing kdramas love more than a virtuous king who's trying to take back control from his evil ministers

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skygiants @ 2026-04-18T18:44:00

2026-04-18T23:43:47Z

I have often read single-person biographies where the biographer is very obviously in love with their subject; I have also occasionally read have also read Couple Biographies where the biographer is really invested in the romance between their subjects plural. Ilyon Woo's Master Slave Husband Wife is a really great, thoughtful, thorough exploration of a particular moment in the history of American slavery around the passage of the Fugitive Slave Act of 1850 and the defiant abolitionist movement. It is also very definitively a love story that Woo believes in with her whole heart and is ready to champion all the way to the end, which I honestly think is quite charming even when I myself looking at the evidence was sometimes like "well, I too would like to believe that all through their many years together William and Ellen Craft were indeed fully and romantically on the same page and had each other's backs about everything, but I think it's possible there are other interpretations of some of these events and that in many cases we simply can't know for sure --"

The Big Headline about Ellen and William Craft, the story that made them famous and that the first part of this book recounts in detail, is their daring escape North from slavery in 1848: Ellen disguised herself as an extremely sickly white gentleman who needed her loyal slave with her at all times, and in this guise they managed to navigate 19th-century public transit all the way from Georgia to Philadelphia. They themselves wrote a book about this, which I do plan to read, because it sounds extremely cool and romantic and indeed everyone they met as they made their way from Philadelphia to Massachusetts was like "that's extremely cool and romantic!" and promptly pulled them onto the abolitionist lecture circuit to general wild applause. Ellen, in particular, had major abolitionist propaganda value for forcing empathy out of white people. She was often billed as the White Slave (a label that she did not enjoy.)

Being an escaped slave on the abolitionist lecture circuit was obviously pretty dangerous in 1848 but not as dangerous as it was about to become. In 1848, the Fugitive Slave Laws up north were pretty toothless and unenforceable. In 1850, in an attempt to staple the rapidly-fracturing country back together, significantly stronger laws were passed that essentially forced abolitionist states to cooperate with returning escaped slaves to their masters. Ellen and William Craft, who had so publicly escaped in a way that was very cool and also very embarrassing for the slave states through which they passed, inevitably became one of the first major test cases as to whether Massachusetts would indeed fulfill its Obligations to the South.

Woo writes a compelling narrative, but more importantly she does a really wonderful job balancing that narrative with the complexity of the broader context; from the opening chapter, where she ties the Craft's escape in 1848 with the 1848 revolutionary movement in Europe, I already knew I was in good hands. She does occasionally I think overuse the Ominous Foreshadowing Chapter Ending, but as nonfiction author sins go that's a minor one. She says that at one point in the text that as part of telling their full story she wants to complicate the idea of a happy ending, but it's very clear that in her heart she wants the Crafts to have been very in love and very married all throughout their long and interesting lives, and who can blame her for that?

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skygiants @ 2026-04-16T19:59:00

2026-04-17T00:35:00Z

As I mentioned on my last Pern post, Dragonsdawn was always the most memorable Pern book for me -- for my sins, and sins indeed they are. That said, having reread it, I can understand exactly why I found this so compelling. This was the book that sold me on the fantasy of planetary exploration and colonization as a delightful and desirable experience! You could go to a beautiful new world and discover baby dragons and have random islands named after you! You could build a new Utopian society! Is Anne McCaffrey's vision of a Utopian society uncomfortably libertarian? Sure, but I was ten, I didn't know what libertarians were, I just understood that Sorka was having a very cool time as a happily free-range child exploring the Pernese landscape. I don't think it was until I read Mary Roach's Packing for Mars as an adult that I fully came to terms with the fact that going to space actually sounded like a deeply unpleasant time, logistically speaking, and let the faint wisps of the Dragonsdawn dream of First Feet Down on a beautiful new planet that's functionally just like Earth with bonus charming telepathic fauna dissipate into the ether.

I mean, it is sort of an open question though: early Pernese culture, potential paradise or libertarian cult? I do think McCaffrey knows that the colonist's blissful vision of If Everyone Has Enough Land For Themselves We Can All Just Be Chill And Not Actually Bother Society-Building is doomed to some degree of failure on account of bad actors, even before it's interrupted by Thread. She could have just made it a book about dealing with Thread and developing dragons about it, and it would probably be a better book if she did, but she's so grimly determined to put some bad actors in just to demonstrate she knows they exist. This at least is my theory of how we got Evil Sexy Avril Bitra, perpetrator of history's most inexplicable heist. "If I go on this fifty-year mission, I can steal some diamonds, steal an escape pod, launch myself back out into space, and get picked up back in a society that's moved on a hundred years from the one I left! Probably they'll still want diamonds and I'll re-adapt just fine!"

So, I can understand, I guess, why Avril Bitra. I don't understand and don't think I will ever understand why Avril Bitra's narrative foil is a would-be tradwife who nonconsensually aphrodisiaced her way into marriage with a man who has never shown any romantic interest in anything except cave systems and then spent the next eight years making a shocked Pikachu face about the fact that he continued to not be all that into her. Why is Sallah Telgar's plot in this book? What is it doing here? Why is Avril Bitra evilly torturing Sallah on the spaceship given so much page space and weird psychosexual intensity when literally nothing about this plot actually impacts the colony's situation IN ANY ACTUAL WAY? I thought a reread would leave me less confused about all this than I was when I was ten and in fact I think it did the opposite. Anne, please ... you must have had some thoughts about this, thematically, structurally ... I'm coming to you, hat in hand, asking for answers.

I do think it's very funny that in the years between 1968 and 1989 Anne McCaffrey decided that it was a bit embarrassing that she'd built biological differences into her dragons such that the queens don't breathe fire, and decided to blame it on the fact that the dragons were genetically designed by an Extremely Traditional Chinese Grandma instead. Is it also racist? Yes, extremely. But if we start talking about all the unfortunate well-meaning racism in Dragonsdawn we'll be here all day and I don't have that much day left. Racism aside I did find myself unexpectedly somewhat moved by the subplot I did not remember at all in which Kenjo Fusaiyuki, a guy who has made a Profound Mistake in moving to an isolated colony planet that's dedicated itself to being low-tech and abandoning spaceflight, desperately hoards fuel for as long as possible to put off the time when he will have to at last give up for good and all the thing he loves most and is best at in all the world.

And you know who could've saved Kenjo Fusaiyuki's life, if she had stopped to help the two guys Avril Bitra clonked on the head instead of uselessly pursuing her into space? YES, IT'S ANOTHER SALLAH TELGAR CRIME. Sallah Telgar, you have so much to answer for.

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skygiants @ 2026-04-12T09:05:00

2026-04-12T14:52:54Z

Scorched Earth is described on its website as a piece of dance theater about a detective reopening an Irish cold case, a description which fascinated us so much that we made a second patently absurd decision to once again park in NYC just exactly long enough to see a show before continuing on our multi-state travel.

If you'd forced me to describe what I expected from this show, I would have hazarded something like 'Tana French book, adapted as a ballet?' Not at ALL correct. The cold case is not a mystery, not full of twists: we've got one detective, one suspect, one victim, one piece of land (and one ambiguously metaphorical donkey.) The ninety-minute show begins with a series of projected documents explaining the history of Irish Land Dispute Murders before establishing a more-or-less regular pattern: short interrogation scenes between the detective and the suspect, interspersed with bursts of emotion and memory, some dramatized and some in dance.

Sometimes -- often -- this worked extraordinarily well. The land under dispute is represented, personified, by a dancer in a ghillie suit who slithers in and out of the central interrogation/morgue table* like a giant muppet, or the Swamp Thing and dances a violently romantic duet with the suspect -- and it could have looked so silly, as I'm describing it it sounds silly, and instead it was haunting and evocative, perfectly elucidating the narrative themes of the show while also just being a gripping and powerful piece of performance.

*remarkable piece of set design, that table; afterwards we all agreed it was the hardest-working table in show business

Other times, the balance felt a little off; the dialogue would tell us something and then a duet would be danced and I'd think, well, you didn't need to tell us both ways, one or the other would have worked fine. Or I'd start to admire the dialogue for its spareness in suggesting the complexity of a dynamic -- who's from here, who isn't, who has rights to land, who doesn't, what's worth punishing on behalf of the community, what isn't -- and then it say it again more explicitly and I'd be like, well, okay, but you didn't have to. What I'm saying is that I think the show probably could have been just as powerful at sixty minutes as at ninety minutes. But I wasn't at all unhappy to be there for ninety minutes! I was compelled the whole time! If the show sometimes told me things about the situation more times or more explicitly than I needed to hear them, it did an admirable job of not telling me what to think about them, and trying to decide what I did think about them left me plenty to occupy my mind.

A lot of the creative team seem to have a history with Punch Drunk and have worked on Sleep No More explicitly, and it was interesting for me to compare/contrast -- the style of expressive choreography is notably similar, but Sleep No More is a piece of theater that has almost no dialogue, that draws a lot of its power from being oblique and ambiguous to the point of fault. Finding that exact right point of convergence for dance and theater seems to be an ongoing challenge and point of interest for the people coming out of the Punch Drunk school and I'm very curious to see other explorations of it.

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skygiants @ 2026-04-09T22:07:00

2026-04-10T03:01:33Z

Made a extremely silly decision this past weekend, which was to break up our long drive to and from Philly by Exactly long enough to see one (one) show in NYC on the way down, and another on the way back. Literally put the car in a garage by the theater, went into the show, got the car out of the garage, and kept driving. And to make matters even sillier the show that we saw on the way down was Bad -- and we knew it was going to be! Or at least we had a reasonable suspicion! But were we not going to go out of our way to see Norm Lewis play Villefort in a Count of Monte Cristo musical? Of course we were. The path before us had simply been prepared.

Q: When you say it was bad, do you mean it was a bad musical as a musical, or a bad adaptation of Count of Monte Cristo?
A: Oh, both! Absolutely both.

Q: What made it a bad musical?
A: Well, the music. And the lyrics. They hit exactly every beat on the Musical Sheet while constantly feeling like less subtle knockoff versions of other songs you might know slightly better. The song you might know slightly better is not a subtle one, you say? Well, I guarantee you that songs such as "Dangerous Times," in which the full cast explain that they are living in dangerous times, and "How Did I Get So Far Away [From Me]," in which Mercedes sadly wonders how she has gotten so far away from herself, are less so. When the best you can say of a song is that it felt like pallid diet Frank Wildhorn -- as in, lacking the noted power and vibrancy of real Frank Wildhorn, composer of such deathless works as Death Note: The Musical -- then you know we're scraping the bottom of the barrel. And that's not even mentioning the frenetic stream of mediocre jokes.

Q: And what made it a bad adaptation?
A: I mean I know there are probably people in the past who have said that Edmond Dantès literally did nothing wrong but I want you to understand: in this show, Edmond Dantès literally does nothing wrong. His backstory takes up the entire first act, and by the time we hit intermission I was already like "huh, there's not going to be a lot of time in here for revenge schemes," but I didn't actually understand how dire the situation was going to be until ( this part of the Q&A gets into quite detailed plot spoilers )

Q: So do you regret your objectively silly decision to go out of your way to see this musical?
A: No I do not, not in the least, and I would have regretted missing it. There is something very nutritious in bad theater, I think. It forces you to consider what good theater might look like. Also, the surprise appearance of Lucrezia Borgia was one of the funniest things I experienced all weekend.

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skygiants @ 2026-03-31T07:41:00

2026-03-31T12:33:04Z

I have a stack of library books and used bookstore buys looking at me accusingly but instead I have been lured into doing a massive McCaffrey read. I know. I don't respect my choices either.

My other problem is that once I am embarked on a Text I have a hard time stopping it, so when all the library offered me in ebook was an omnibus of Dragonflight - Dragonquest - The White Dragon I was always going to be reading all three. And, you know, it did start out quite well! Rereading Dragonflight a very funny experience because it's like

Dragonflight: and here's where Lessa washes her hair
Me: tiny Becca what do you think about this
the inner tiny Becca: I LOVE LESSA I LOVE IT WHEN SHE GETS TO WASH HER HAIR 🥹
Dragonflight: and here's where F'lar sends F'nor on a haunted mission back in time
Me: tiny Becca what do you think about this
the inner tiny Becca: who's F'lar

But actually with very few actual memories and a lot of informed knowledge from the twenty years since the last time I read these books I truly expected F'lar and the central romance plot in general to be ... worse? Like yes it's 1968 and yes there's the dubcon dragonsex of it all and yes F'lar's whole mission in life is to convince the world that you Cannot stop feeding the military-industrial complex even after four hundred years of peace or you Will be eaten by mindless alien hordes [On Which More Later]. But the thing that the dubcon dragonsex actually does, narratively speaking, is it fully displaces the emphasis of the romance away from 'when are they going to have sex' to 'when are these two assholes who trust themselves very much going to learn to trust each other.' They're having sex all through it; the dragons have taken care of that, so the sex is no longer the point. The partnership and the problem-solving is the point, and it is fun to watch them solve problems and increasingly know which problems they can rely on the other to solve. Which I think is interesting and purposeful and honestly pretty bold, for 1968! I'd like to see more romances do that now! Also the problem-solving is satisfying, and haunted mission back in time plot that I had completely forgotten is quite effectively creepy. I ended Dragonflight like 'you know what, as Of Its Time as it is, in many ways this book actually does really work. Maybe ... Pern is good?

Then on to Dragonquest and The White Dragon and it turns out Pern unfortunately is not good, although both of these books are real would-be-good-if-they-were-good situations.

Dragonflight: and here's where F'lar sends F'nor on a haunted mission back in time
me: Dragonquest what do you think about this
Dragonquest: what haunted mission

No, Dragonflight is kind of a mess of a book but what I do think is interesting about it, thematically speaking -- to come back to the military-industrial complex of it all -- is that the end of Dragonflight is a lot of people going 'to be manly and heroic is to fight forever on a cool dragon, we've reached peacetime and it's dull so we're going forward in time so we can continue fighting forever on a cool dragon' and the beginning of Dragonquest is like 'actually I have reconsidered my thinking about this and it turns out fighting forever is perhaps bad for you, psychologically? maybe instead of heroic forever war we can look at some alternate pursuits that are also heroic and manly but less lethal and traumatizing. Like space exploration! Did anyone watch the Moon Landing? Wasn't that pretty cool?' (genarti when I was talking with her about this also pointed out that at the time Dragonquest came out we were also several more years into Vietnam.) Obviously McCaffrey is all in on the Pioneer Spirit and the wistful terra nullius of it all but I appreciate that she's actively revising her thoughts on the military and its relationship to the populace it theoretically protects as she's writing it, and it's interesting to see the evolution. Really really funny to see F'lar go from the 'SEND TITHES LIKE YOU DID IN THE DAYS OF YORE' guy to the 'I'm your progressive candidate for Weyrleader and I think this military appropriationism has gotten a bit out of hand' guy. I love the end of the book where it's like 'well we've actually solved the problem of Thread but unfortunately our solution is not cool and sexy, so we need a dragonrider to do something that is cool and sexy but ultimately completely useless to get everyone else to buy into it.'

(E who dragged me into this: plausible reading that the grubs are a feminised solution. we must put our hands into mother earth and urgh it's all moist and gooey
me: i love that you went there because my first thought is that the solution is lower class. the humblest tillers of the land
E, determined: thread is being absorbed by a planetary vagina dentata which also has life-generating properties)

Anyway, F'nor does some spaceflight, in a cool and sexy but ultimately completely useless way, which is making up I suppose for the other cool and sexy thing that F'nor absolutely does not get to do which is challenge dragon biological essentialism. F'nor/Brekke is not a particularly successful or interesting romance plot but nonetheless I truly was on the edge of my seat for this -- I remembered that Brekke's mating flight ends in Tragedy but I thought F'nor might at least like succeed a little bit in proving that it's hypothetically possible for a brown dragon to mate with a queen? But no! he doesn't even get to try! Having raised the question of 'what does dragon gender really mean and how much does it bind us' Anne cannot bring herself to answer it. Have you instead considered that spaceflight is cool and sexy.

And The White Dragon is even more a book of 'having raised the question, Anne cannot bring herself to answer it.' Not much actually happens in The White Dragon, we're making a number of mountains out of molehills, but it's all whirling around the central anxiety point of 'if my soulbonded dragon falls out of standard dragon color/gender categories and moreover is definitely ace then what does that make me?' And the book's answer is '....a guy. A manly guy who successfully achieves all of his society's standards of masculinity. Do not worry about it.' Well, I wouldn't have been worrying about it, Anne, if you hadn't been telling me to worry about it, and then you gave me the most boring answer possible.

There is more to say about The White Dragon -- not least the way that every woman in the book seems to have gotten a hefty splash from the misogyny fountain -- but I am running out of time so we'll call it here. Am I done? No! I am now halfway through Dragonsdawn. More on that anon.

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skygiants @ 2026-03-21T10:22:00

2026-03-21T14:56:45Z

I've seen two Boston Ballets in relatively quick succession over the past month, both combo programs featuring two pieces; the first was "The Rite of Spring" (Elo's, not Nijinsky's) paired with Pite's "The Seasons' Canon," and the second was a premiere, Stromile's "The Leisurely Installation of a New Window," paired with Ashton's "The [Midsummer Night's] Dream."

Breaking with the actual curation of the productions, I'm going to talk about "The Rite of Spring" and "The Leisurely Installation of a New Window" together because they both came first in their productions, they had kind of similar vibes, and I experienced similar feelings of mild disappointment about both of them that were not technically the fault of the productions. I was really excited about "The Rite of Spring" because I wanted to see some ballet dancers do a dramatic ritual sacrifice, and I was really excited about "The Leisurely Installation of a New Window" because I wanted to see some ballet dancers slowly install a window. Instead, both of these pieces were kind of abstract explorations through dance of the Relationship between the Individual and Society, and I think both would have been enjoyable for fifteen minutes but ran a bit long at half an hour.

The description for "Window" in the playbill reads:

Eighteen dancers inhabit the work through distinct but interdependent roles. The Seeker stands close to tradition, moving with discipline and clarity. The People operate within shared systems, attentive to both order and its quiet tensions. The Reformers introduce disruption, not as spectacle, but as pressure applied from within.

This did help me understand better what was going on in the dance, as the Seeker stalked around holding a book and then portentously passed it off to some dueting Reformers, but also made it feel a bit like a LARP that I was not participating in. On the other hand Reeves Gabriel of The Cure was There and Participating in Ballet Music (and every bit of marketing wanted you to know that Reeves Gabriel Of The Cure was There and Participating in Ballet Music) and occasionally the music would get very thrillingly electric guitar and you'd be like "Hello, Reeves Gabriel of The Cure!" So it's not that I didn't have a fine time, I just would have been okay with somewhat less of that time.

However, after these very mildly disappointing openers, I loved both "The Seasons' Canon" and "The Dream" very much! The Seasons' Canon is, justifiably, a known Boston Ballet showstopper -- a huge piece with a huge cast, and as you guys know I often have trouble with a piece that is not trying to tell me a story but this piece is truly just Humans Make Big Shapes and it's riveting. Could not take my eyes off it. The trailer here gives a bit of a sense but of course is not that much like seeing it Actually On Stage, but it does let you see one of the things I found most striking about the piece which is how extremely non-gendered it is -- everyone on that stage is dressed identically in pants and nude tank that makes them look topless, the whole corps looks like one and moves like one and there is nothing to distract you from that. Really, really cool experience.

And "The Dream" -- look, I'm a simple soul, and what I have discovered is that I love Ashton's silly panto-esque ballets. They are fun and they are funny and I love it when people get to be funny in dance! Dance jokes are good actually! Titania ballet-hopping her way towards Bottom in a way that manages to be simultaneously fairy-like and hilariously sultry, the arguing lovers constantly picking each other up and pirouetting a partner firmly Away from them Thank You, the rude mechanicals!! we wanted more rude mechanicals but I was so glad we got what we got. A+ Midsummer Night's Dream, would see again.

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skygiants @ 2026-03-18T22:50:00

2026-03-19T03:17:57Z

Because Becky Mahoney and I know each other, I boosted a Bluesky giveaway for her upcoming vampire novel Thrall (coming out next month!) in the spirit of friendship and then was somewhat surprised to discover that I had in fact won the giveaway -- surprised but delighted, obviously, since I've loved all of her previous books even when they weren't LUCY CENTRIC DRACULA RIFFS!! focused around a COLLEGE PIRATE RADIO STATION!!!

The central character of Thrall is Lucy Easting, who has just transferred into beautiful, isolated, mountainside Rollins University from community college, in a bid to get away from her stressed and depressed mother and live a life she's excited about for a change.

Alas! her first college party results in a couple of neck puncture marks, a marked tendency to experience severe migraines in sunlight, and a tragic susceptibility to the ominous vampire voice in her head that occasionally takes over her consciousness and directs her towards uncharacteristic action.

Fortunately! the college is full of prospective allies who are willing to take a chance on Lucy despite her regrettable thrall situation, including but not limited to the host of the local college late-night radio show, who has been a target of the vampire since her sophomore year and has been using the airwaves to try and fight back; Lucy's RA, a determined young woman with very nice arms, who came to the school to investigate after a terrible fate befell her high school ex-boyfriend Jonathan; and the very nice, normal party host who has no previous vampire experience but feels just terrible about the whole situation and is not about to relinquish responsibility for sorting the situation out! it was her party!!

It's a really charming book on a number of levels, but my favorite thing about it as a Dracula riff specifically is how much it's thematically invested in Lucy as a side character -- the narrative is consistently very clear that the vampire is not particularly interested in Lucy; he's obsessed with Athena the radio show host and everything else he's doing is part of his elaborate cat-and-mouse game with her, including incidentally overturning Lucy's life as a by-the-by -- and how Lucy makes the book her own story anyway by sheer force of determination not to be cut out of it. Lucy's energy really drives the book: she wants to live, and she wants to live a life on her own terms, and she's not about to let one horrible encounter take that away from her.

Also, I think it's not a huge spoiler ( but I guess is technically a mild one: lesbians! )

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skygiants @ 2026-03-06T07:26:00

2026-03-06T13:47:53Z

Sometimes you read a book at exactly the wrong time, and you're like 'god this stupid big fat fantasy novel. Why are you six hundred pages. Why is everybody Sexy. What's the point of you. I'm tired' and sometimes you read a book at exactly the right time and you're like 'thank god! actual worldbuilding!! somebody had a good time getting weird with this! please tell me more about how weird you're getting!!' and I think I could easily have gone either way on Tessa Gratton's The Mercy Makers depending on the four books I'd read just previous as well as the time of the moon. But as it happened, at the point I read it I was really hungering for something, ANYTHING that felt like it actually cared about depicting a unique and distinctive society with characters that felt like they actually belonged in that society, and The Mercy Makers gave me that in spades, so I ended up really high on it! I had a great time! Please understand that I mean it lovingly when I say that it felt like a visual novel high fantasy dating sim!

-- this is a bit disingenuous for me to say, I haven't actually played more than a bit of any of the long visual novel high fantasy dating sims I'm thinking of, but I have read extensively through alias_sqbr's write-ups of them and the book profoundly reminded me of something like [alias_sqbr's description of] My Vow To My Liege, where a player character has to play a lot of really dramatic political games to decide the fate of the kingdom, while surrounded by Hot People, and different elements of the plot will play out depending on which Hot Person she's closest to --

Okay, so we are in a fantasy empire that is built around a central religion that values Balance and forbids Heretical Magical Plastic Surgery and Medical Techniques. Our heroine Iriset, of course, is an atheist who's wildly gifted with Heretical Magical Plastic Surgery and Medical Techniques, and is also the daughter of a criminal mastermind. Iriset and her father have carefully crafted a secret identity illusion so that everyone thinks that someone else is the Heretical Magical Plastic Surgery Mad Scientist Genius and that the famous criminal mastermind's daughter is just a nice girl who's not really involved, so that when her father eventually gets arrested -- as indeed is the inciting incident of this book -- Iriset can hopefully stay free and rescue him instead of also getting arrested herself as a famous magical heretic.

For some reason, however, after her father's arrest, Iriset -- whom everyone knows is a criminal heiress but, once again, thinks is a nice and sweet criminal heiress who's not really involved, rather than an amoral heretic mad scientist -- is sort of non-consensually invited to become one of the handmaidens of the Emperor's hot sister as part of complex political schemes, so she spends the rest of the book in the palace, where she meets the following hot people:

- the Emperor, an earnest and well-intentioned young man who is really devoutly religiously dedicated to maintaining the Balance of the Status Quo
- the Emperor's sister, Iriset's boss, whose job as per official tradition for the Emperor's sibling is to be a priestess who placates the religion's divine devil-figure by going and being really sexy at a shrine every day, but has political visions and ambitions for the Empire far beyond her Sexy Role
- the Emperor's fiancee, a very sweet princess from neighboring island kingdom, who is a fundamental element of the Emperor's sister's overarching plans for an empire that expands through marriage alliance instead of conquest
- a mysterious, suffering, untrustworthy fairy sort of creature who has been publicly imprisoned behind the Emperor's throne for the past several hundred years and is now just sort of a standard part of the decor

In addition to these obviously romanceable characters, Iriset also has an existing criminal boyfriend on the outside of the palace who she's attempting to get in touch with and coordinate with about Operation Rescue Her Dad, and she also meets a palace maid and a fantasy-nonbinary magical architect (uses one of several archaic gender forms) who in the dating sim version of this would probably be secret or hidden routes.

The first, like, two hundred pages or so of this six hundred page book are mostly just Iriset wandering around the palace, trying not to be too obviously a heretical mad scientist, building various schemes for father-rescue and trying not to get distracted by much she would quite like to bang any or all of these hot people. And, again, at another time I might have gotten bored, but at this point in time I was really just enjoying the slow rich worldbuilding. It's weird! It's interesting! Everyone always wears elaborate masks and facepaint except for the foreign princess who's confused by the whole system, and we've reinvented a different kind of four humors system so everybody's like 'well of course she would act this way, she's got too much ecstatic force in her system', and the political conversation about marriage reform refers to the law that forbids conquered peoples within the Empire from marrying within their own ethnic group for a certain number of generations, and there are several archaic genders that are no longer used and people have chat about how actually we should bring them back because two is an imbalanced number and four would be much more balanced -- what I'm trying to get at is that it feels like the people in this book think in ways that are shaped by their world, and not by ours. The plot in its actual happenings is constantly contriving itself so that Iriset will be pushed into a position where, eventually, she'll have to Rebel Against Empire, but the thought patterns that get us there feel distinctive and grounded in the world and setting that Gratton has built.

But eventually, of course, we are going to have to get some plot and it is obviously going to have to involve Chekhov's Heretical Plastic Surgery and messy identity porn. ( the rest is spoilers )

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skygiants @ 2026-02-20T07:43:00

2026-02-20T13:19:26Z

One of the simplest and purest pleasures in fiction is to ride along as an unhappy person becomes happier, and this at the heart is the charm of the self-pub coming-of-trans novel Our Simulated Selves.

On first glance the premise of this one could seem dire: depressed incel, told by dream girl that they would not date even if the incel was the "last man on Earth," uses advanced brain-scanning technology and giant quantum supercomputer to set up a simulation world where literally everybody else on Earth does disappear immediately after that argument, and see how long it takes sim self and dream girl to get together in this apocalypse scenario. (The reader, who has already seen our protagonist describe dysphoric brain fog and experience mysterious joy about playing a girl character in D&D, will at this point certainly have some ideas about the ways that this sad incel is working from some fundamentally incorrect principles.)

Most of the book is from the POV of sim protagonist with occasional outside-world interjections and responses from the simulation runner, which means you also get sort of a fun inside/outside view of an apocalypse-ish survival situation -- within the simulation, protagonist and dream girl are running around gathering up non-perishable food and trying to figure out how long the power grid is going to last; meanwhile, outside the simulation, Protagonist Zero Version is like 'shit, I didn't really think through that they'd be treating this like an apocalypse and I forgot to write any code for food spoilage!' But the main satisfaction of the book is in watching our protagonist go through the work of transformation to become a better and happier person -- with a little added weight, because at the same time we're also seeing the worst and cruelest and most unhappy version. Overall I found the reading experience really charming and sweet!

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skygiants @ 2026-02-15T18:17:00

2026-02-16T00:04:58Z

I never got around to writing up Anne McCaffrey's The Mark of Merlin when I read it last year, but I've been thinking about McCaffrey a lot recently due to blitzing through the Dragons Made Me Did It Pern podcast (highly recommended btw) and osprey_archer asked for a post on my last-year-end round-up so now seems as good a time as any.

The important thing to know about The Mark of Merlin is that -- unlike many of the things I've read recently! -- it is not, in any way, the least little bit, Arthuriana. They are not in Great Britain. There are no thematic Arthurian connections. There is absolutely zero hint of anything magical. So why Merlin? Well, Merlin is the name of the heroine's dog, and he's a very good boy, so that's all that really needs to be said about that.

Anyway, this is McCaffrey writing in classic romantic suspense mode a la Mary Stewart or Barbara Michaels, and honestly it's a pretty fun time! Our Heroine Carla's father Tragically Died in the War, so he asked his second-in-command to be her guardian and now she's en route to stay with Major Laird in his isolated house in Cape Cod. Tragically scarred and war-traumatized Major Laird has no Gothic-trope concerns about this because Carla's full name is Carlysle and her dad accidentally forgot to tell him that the child in question was a daughter and not a son; Carla is fully aware of the mixup and but has not chosen to enlighten him because she thinks it's extremely funny to pop out at Major Laird like "ha ha! You THOUGHT I was a hapless youth and wrote me a patronizing letter about it, but INSTEAD I am a beautiful and plucky young co-ed so joke's on you!"

There is an actual suspense plot; the suspense plot is that Someone is hunting Carla for reasons of secret information her dad passed on in his luggage before he died, and also his death was under Mysterious Circumstances, and so we have to figure out what's going on with all of that and eventually have a big confrontation in the remote Cape Cod house. But mostly the book is just Carla and the Major being snowed in, romantically bickering, huddling for warmth, cooking delicious meals over the old Cape Cod stove, etc. etc. Cozy in the classic sense, very little substance but excellent for reading in a vacation cottage while drinking tea and eating a cheese toastie.

As a sidenote, I did not know until I started listening to Dragons Made Me Do It that McCaffrey's Dragonflight preceded The Flame and the Flower, the book that's credited as being the first bodice-ripper romance novel and launching the genre of historical romance as we know it today, by a good four years. It's interesting to place this very classic romantic suspense novel -- which was published almost a decade after Dragonflight, but, at least according to this Harvard student newspaper article I turned up, at least partially written in 1950 -- against the full tropetastic dubcon-at-best dragonsex Pern situations, which clearly belong to a later moment. And speaking of later moments, it's also a bit of a mindfuck for me to think very hard about McCaffrey's place in genre history and realize how very early she is. I was reading McCaffrey in the nineties, against Lackey and Bujold. Reading her in conversation with Russ and LeGuin is a whole different experience.

But this is all a tangent and not very much to do with The Mark of Merlin, a perfectly fun perfectly fine book, very short on the wtf moments that have characterized most of my experiences with McCaffrey, and if anything comes late to its moment rather than early.

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skygiants @ 2026-02-13T17:50:00

2026-02-13T23:37:07Z

Syr Hayati Beker's What A Fish Looks Like is perhaps the weirdest/coolest/most interesting thing I've read so far this year -- an apocalyptic collage novel(la), told in letters, posters, angry breakup notes, and a series of strange fairy tale riffs about breakups and loss and change and transformation on both the personal and the planetary level.

In the frame story for What A Fish Looks Like, a queer radical collective in a city living through massive climate collapse has gotten its hands on 100 tickets for the last big trip off-planet. It's T minus ten days: who's going? Who's staying? Who heard the gossip about Jay and Seb making out on the dance floor, even though they had a really messy breakup and Jay has a ticket out and Seb has no interest in leaving, and who wants to use the Saga of Jay and Seb to distract themselves from the fact that the oceans are rising and the skies are red and this year's bad fire season never ended?

In the interstitials, a community outlined in personal letters and party invites and notes on the bathroom door of a favorite bar counts down to the point of decision. In the stories themselves, a person has a bad break-up and and takes on some polar bear DNA about it; a closeted teacher loses a student to a big wave in the new and frightening ocean, and meets a mermaid about it; a stage manager forges ahead with a production of Antigone in a burning city and turns into a spider about it. The people who appear in the stories also appear in the interstitials, part of the community; the book is slippery about to what degree the stories are meant to be read literally as an accounting of events and to what degree they're metaphors, wishes, retellings. The interstitials make it clear that there is certainly a theater and a fire. Probably nobody actually turned into a spider about it, but who could say. The world is getting weirder, and who knows what's possible or plausible anymore?

I'm including a screenshot of one of my favorite pages of the book -- most of the stories are text but a lot of the interstitials are in images like this one -- which I think gives a good sense of the kind of community portraiture that makes What A Fish Look Like stand out so much to me.

Highly recommend checking this one out: you might be confused, you might be depressed, you might be inspired, you absolutely won't be bored.

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skygiants @ 2026-02-12T07:44:00

2026-02-12T13:52:43Z

I went into Lessons in Magic and Disaster somewhat trepidatiously due to the degree to which her YA novel Victories Greater Than Death did not work for me. The good news: I do think Lessons in Magic and Disaster is MUCH better than Victories Greater Than Death and actually does some things remarkably well. The bad news: other elements did continue to drive me up a wall ....

Lessons in Magic and Disaster centers on the relationship between Jamie, a trans PhD student struggling to finish her dissertation on 18th-century women writers at a [fictional] small Boston college, and her mother Serena, an abrasive lesbian lawyer who has been sunk deep in depression since her partner died a few years back and her career simultaneously blew up completely.

Jamie does small-scale lower-m magic -- little rituals to make things go a little better in her life, that usually seem to work, as long as she doesn't think about them too hard -- and the book starts when she takes the unprecedented-for-her step of telling her mother about the magic as a sort of mother-daughter bonding ritual to see if her mother can use it to help herself get less depressed! Unfortunately Serena is not looking for a little gentle self-help woo-woo; she would like to UNFUCK her life AND the world in SIGNIFICANT ways that go way beyond what Jamie has ever done with magic and also start blowing back on Jamie in ways that eventually threaten not only Jamie and Serena's relationship but also Jamie's marriage, Jamie's career, and Serena's life.

Serena is an extremely specific, well-observed character, and Serena and Jamie's relationship feels real and messy and complicated in ways that even the book's tendency towards therapy-speak couldn't actually ruin for me, because yeah, okay, I do think Jamie would sometimes talk like an annoying tumblr post, that's just part of the characterization and it doesn't actually fix everything and sometimes even hurts. But the book's strengths -- that it's grounded very much in a world and a community and a type of people that Charlie Jane Anders clearly knows really well and can paint extremely vividly -- are also its weaknesses, in that it's also constantly slipping into ... I guess I'd call it a kind of lazy-progressive writing? The book is full of these sharp, vivid, messy moments whenever it's focused on this particular relationship and Serena in specific, and without that flashpoint, the messiness vanishes. Jamie goes into her grad school classroom and thinks about how the white men are always so annoying but the queer and bipoc students Always pick up what she's putting down. Jamie's partner Ro sets down boundaries in their marriage after a magic incident goes wrong and they are Always right and Jamie is Always humble and respectful about it, because respecting boundaries is Always the Correct thing to do. (Ro is the sort of person who says things like "this is bringing back a lot of trauma for me" while Jamie's mother is actively, in that moment, on the verge of death. I'm all for honesty in relationships but maybe you could give it a minute?)

I don't know. I think there is quite a good book in here, but I also think that good book is kind of fighting its way a little bit to get out from under the conviction that We Progressive Right-Thinking People In The Year 2025 Know What Righteous Behavior Looks Like. You know. But sometimes it does indeed succeed!

I did really enjoy the book's hyper-local Cambridge setting. Yeah, I see you name-checking those favorite restaurants, and yes, I have been to them and they are pretty good. Also, as a b-plot, Jamie is uncovering some lesbian literary drama in her dissertation that gives Charlie Jane Anders a chance to play around with 18thc pastiche and write RPF about Sarah Fielding, Jane Collier, and Charlotte Clarke and sure, fine, I didn't know very much about any of those people and she has very successfully made me want to know more! There were a bunch of times she'd drop something int he book and I'd be like "that's SO unsubtle as pastiche" and then I'd look it up and it was just a real thing that had happened or been published, so point again to Charlie Jane Anders.

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skygiants @ 2026-02-11T08:00:00

2026-02-11T13:38:26Z

Picking up a book called Part Time Girl about a high school kid who switches (physically, magically, inconveniently) back and forth between Being A Boy and Being A Girl, I was like, okay, I know pretty much what the vibes of this are going to be. And the first couple chapters in which protagonist Michael/Kayla worries about a Sort Of Girlfriend and a Hot Boy and I Have Taken This Part Time Job As A Girl But Now I Need Girl Clothes, Bra Shopping! So Stressful!! did not really lead me to think anything different!

Then about 40% of the way through the book our protagonist was suddenly running through the woods from evil wizards, and I'm like, okay, this I did not expect.

It turns out the plot of this book is NOT high school drama and figuring out your complicated gender feelings! The plot of this book is that evil racist homophobic wealthy wizards called the Clan (yes) run the world and you have to team up with your traumatized neighbor to fight them, while also figuring out your complicated gender feelings along the way.

Also, the protagonist and the traumatized neighbor bond by hanging out and watching the 2014 kdrama Healer, the plot and cast of which is lovingly described in text. This is in fact plot relevant because they later use their arguments over which cast member is hotter to prove their identities to each other when it's in question. Now I do love Healer but given that it came out, again, in 2014 and I haven't heard anyone talk about it pop culturally in more than a decade, this possibly surprised me even more than the evil wizards.

I can confidently say that at no point did I predict some of the major turns this book took, and I will put them under a spoiler in case you, too, would like to experience this Experience as I confidently believe it was meant to be Experienced: ( here we go! for the ride! )

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skygiants @ 2026-02-08T21:10:00

2026-02-09T03:03:07Z

By sheer coincidence, I ended up reading Alix Harrow's The Everlasting almost immediately after The Isle in the Silver Sea. Both books are ringing changes on the same big themes -- the narratives of nationalism, fate and tragedy, Spenser and Malory, depressed lady knights and evil girlbosses -- and from what I had previously read of both Harrow and Suri's work I was tbh quite surprised to find myself liking The Everlasting a bit better.

The premise of The Everlasting: it's more or less the second-world equivalent of the 1920s and we have just had a Big War. Our protagonist Owen has a radical pacifist alcoholic father that he doesn't respect, a war medal that he didn't really earn, a academic career that doesn't seem to be going places, and a face that makes it pretty obvious that at least one parent came from The Other Side. However, his messy relationship with the war has not in any way altered his ardent passion for the greatest figure of his country's nationalist mythology, the knight Una Everlasting, who fought at the side of the nation's founding queen a thousand years ago and died tragically to bring the country stability.

Then he finds a book that purports to be the True History of Una Everlasting, and gets summoned to a secret meeting with the country's minister of war, an evil girlboss who immediately sends him back in time to experience and document Una Everlasting's Last Quest first hand. He gets to write the nationalist myth himself! What fun!

Alas, it turns out that the great knight Una Everlasting is violent, brutal, and extremely burned out about all the people she's killed as part of the bloody process of nation-forging: at this point the citizens think of her as a butcher and she's inclined to agree. Nonetheless, fanboy Owen convinces her to take on this one last quest for the sake of her honor & kingdom & legacy &cetera, with the promise of peace at the end of it, knowing full well that the end of the quest will in fact mean her death.

This is the first section of the book and tbh I enjoyed it enormously. Owen is writing the narrative in first person and his voice is used to great effect: he's a twisted-up and self-contradictory character who shows the problems of nationalism much better as a guy who's genuinely trying to convince himself that he believes in it than he would if he started out already enlightened. I love his embarrassing radical pacifist dad and his judgmental thesis advisor, and, as heterosexualities go, I am absolutely not immune to the allure of large violent depressed woman/weaselly little worm man whom she could easily break in two who is obsessed with her but also fundamentally betraying her. If the book had ended at the end of its first section, I think it would have been a phenomenal standalone novella.

However, the book does keep going. I continued to have a good time, more or less, but the more it went on the more I felt that it had sort of overplayed its hand. Alix Harrow is extremely a Power of Fiction author in ways that didn't fully work for me in the other book of hers I read; I do appreciate that this book is the Power of Fiction [derogatory] but I still think that perhaps she is giving fiction a little too much power ... For the length of ninety pages I was willing to role with the importance of The Great Nationalist Myth, but the longer it went on and the deeper and more recursive it got with its timeloops the more I was like 'wait .... we only have one founding myth? changing the myth really directly and immediately impacts the future in predictable and manipulable ways and is in fact the only thing that does so? Hmm. Well."

Also I enjoyed the evil girlboss right up until it was revealed that every evil girlboss in the country's whole thousand-year-old history had been the very self-same evil girlboss and no other woman had ever done anything. You are telling me you have built up a whole thing about this country's founding myth of the Queen And Her Lady Knight from scratch and that didn't change the country's relationship to gender at all? NO other woman was ever inspired to do anything with that? I am not sure that's as feminist as you think it is ...

Anyway, I do think this book and The Island In the Silver Sea form a sort of spiritual duology and I'm glad to have read them back to back: for such similar books they have really interestingly different flaws and virtues.

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skygiants @ 2026-02-07T00:53:00

2026-02-07T06:08:45Z

Festivids reveals have SNUCK up on me they are happening TOMORROW and I have NOT had time to watch all the things I wanted to watch but! here are some things I very much liked anyway!

First, my own three (3!!!) beautiful vids:

Sharp Dressed Man, for Jeongnyeon: The Star Is Born, a glorious celebration of Theatrical Fashion

Touch, for the film Phantom, tense & wistful lesbian tragic romance!

and Ready to Fight, also for Phantom, TRIUMPHANT KINETIC ACTION

I did not expect to receive vids for either of these sources and they are all beautiful and perfect to me!!

And now, an incomplete list of other vids I really really liked and/or was impressed by and/or laughed my ass off at:

who wants to live forever (17776: What Football Will Look Like In The Future)

Congratulations, You Survived Your Suicide (Disco Elysium)

Everything I Need and PC Dyke (Dykes To Watch Out For)

nothing and everything (Hamlet) (the SONG CHOICE)

The Man I Knew (Jesus Christ Superstar)

Here (Labyrinth) (THE SONG CHOICE!!!)

ASSHOLE (Looney Tunes)

Let's Get This Over With (Rosencrantz and Guildenstern Are Dead)

Ya Ya (Sinners)

There Is No Ship (Steerswoman)

man (Victor/Victoria)

I hope some of you enjoy some of these as much as I did!

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skygiants @ 2026-02-01T16:37:00

2026-02-01T22:35:50Z

I finished Tasha Suri's The Isle in the Silver Sea yesterday and I am wrestling with profoundly conflicted feelings about it. It's an interesting book, it's an ambitious book; it's a book with a great deal to say, sometimes with a sledgehammer; it went in places I didn't expect, and appreciated, and also I think it maybe fails at the central task it needed to succeed at in order to make it actually work for me as a book.

The premise: we're on an island, and this island is composed of Stories About Britain. London is there, constantly caught between Victorian London and Elizabethan London and Merrie Olde England depending on what sort of narrative you're in. The Glorious Eternal Queen reigns forever with her giant ruffs and bright red hair. Each bit of the island is tied to a bit of story, and that story attaches itself to particular people, Incarnates, who are blessed/cursed to live out the narrative and keep the landscape alive with it. At this point this has been going on for so long that incarnates are usually identified pretty early and brought to live safely at the Queen's court where they kick their heels resignedly waiting for their fate to come upon them.

Sometimes immigrants come to the island. When they come, they forget their language and their own stories in the process. They are not supposed to get caught up in incarnation situations, though -- in theory, that's reserved for True Born Englishmen -- but unfortunately for our heroine Simran, she appears to be an exception and immediately upon sighting the shores of the isle as a child also started seeing the ghost of her past incarnation, indicating that she is the latest round of the tragic tale of the Witch and the Knight, who are doomed to fall in love and then die in a murder-suicide situation For The Realm.

Simran's knight is Vina, the mixed-race daughter of a wealthy noble, who is happy to be a hot and charming lesbian knight-at-arms but does not really want to be the murderous Knight any more than Simran wants to be the Witch. However, the plot begins, Simran is targeted by an Incarnation Murderer who kidnaps her best friend and challenges her to meet him on her Fated Mountain, and they of course have to go on a quest where they of course fall in love despite themselves and also learn more about why the current order must be overthrown because trying to preserve static, perfect versions of old stories is not only dooming a lot of people to extremely depressing fates but also slowly killing the Isle. This quest makes up the first part of the book.

I am very interested in the conversation that Tasha Suri is using this book to have about national narratives and national identities and the various stories, both old and new, that they attempt to simplify and erase. Her points, as I said, aren't subtle, but given Our Current Landscape there is a fair argument to be made that this is not the time for subtlety. I also think there's also some really good and sharp jokes and commentary about the National Narratives of Britain, specifically (evil ever-ruling Gloriana is SUCH a funny choice and the way this ends up being a mirror image for Arthuriana I think is quite fun as well).

On the other hand, the conversation is so big and the Themes so Thematic that they do end up entirely overshadowing the characters for me, which I do think is also a thematic failure. The first part of the book is about Vina and Simran's struggle to interact with each other and their lives as individuals, rather than the archetypes that overshadow them, but as Vina and Simran they also never quite felt like they transcended their own archetypes of Cranky Immigrant Witch and Charming Lesbian Knight With A Hero Complex. Which startled me, tbh, because I've liked several of Tasha Suri's previous books quite a lot and this hasn't struck me as a problem before. But I think here it's really highlighted for me by the struggle with Fate; I kept, perhaps unfairly, compare-contrasting with Princess Tutu, a work I love that's also about fighting with narrative archetypes, and how extremely specific Duck and Fakir and Rue feel as characters. I finished part one feeling like I still had no idea whether Vina and Simran had fallen in love as Fated Entities or as human beings distinct from their fate, and I think given the book this is it really needs to commit hard on that score one way or another.

Part two, I think, is much more interesting than part one, and changes up the status quo in unexpected ways. If I pretend that part one landed for me then I'm much happier to roll with the ride on part two, though there is an instance of Gay Found Family Syndrome that I found really funny; you can fix any concerning man with a sweet trans husband and a cottage and a baby! genarti will argue with me that she thinks it was more complicated than that, to which I will argue, I think it could have been more complicated IF part two had had room to breathe and lean into any of those complexities. Making part one half its length and part two double its length would I think fix several of my problems with the book. "but you just said that Vina and Simran don't feel specific enough" yes that's true AND they take three hundred pages to do it! I'd be less annoyed about them feeling kind of flat if we were moving on more quickly to other things ...

Anyway. I didn't find this book satisfying but I did find it interesting; others may find it to be both. Curious to talk about it with anyone else who's read it!

Sidenote: the Tales and Incarnations are maintained by archivists, who keep the island and the stories it contains static and weed out any narratives they think don't belong. This of course is evil. I went and complained about the evil archivist propaganda to genarti, who read this book first, and she said 'read further.' So I did! It turns out that in contrast to the evil archivists, the woods are populated by good and righteous librarians!! who secretly collect oral histories and discarded tales that have been deemed subversive by the archivists but which of course the island needs to thrive. I do appreciate that not all institutional memory workers are Evil in this book and I understand the need in fiction to have a clear and easy distinguishing term between your good guys and your bad guys, but Tasha Suri, may I politely protest that this is in fact also archivist work --

Sidenote two: v. interesting to me that of the two big high-profile recent Arthurianas I've read the thing I've found most interesting about both of them is their use of the Questing Beast. we simply love a beast!!

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skygiants @ 2026-01-26T22:41:00

2026-01-27T04:23:17Z

Like several other people on my reading list, including osprey_archer (post here) and troisoiseaux (post here, I was compelled by the premise of I Leap Over the Wall: A Return to the World After 28 Years In A Convent, a once-bestselling (but now long out-of-print) memoir by a British woman who entered a cloister in 1914, lived ten years as a nun, decided it wasn't for her, lived another almost twenty years as a nun out of stubbornness, and exited in 1941, having missed quite a lot of sociological developments in the interim! including talking films! and underwire bras! and not one, but two World Wars!

Obviously Baldwin did not know that WWI was about to happen right as she went into a convent, but she does explain that she came out in the middle of WWII more or less on purpose, out of an idea that it would be easier to slide herself back into things when everything was chaotic and unprecedented anyway than to try to establish a life for herself as The Weird Ex Nun in more normal times. Unclear how well this strategy paid off for her, but you can't say she didn't give it an effort. Baldwin was raised extremely upper-class -- she was related to former Prime Minister Stanley Baldwin, among others -- but exited the convent pretty much penniless, so while she did have a safety net in terms of various sets of variously judgmental relations who were willing to put her up, she spends a lot of the book valiantly attempting to take her place among the workers of the world. And these are real labor jobs, too -- 'ex-nun' is not a resume booster, and most of the things she felt actually qualified to do for a living based on her convent experience (librarianship, scholarship, etc) required some form of degree, so much of the work she does in this book are things like being a land girl, or working in a canteen. She doesn't enjoy these jobs, and she rarely does them long, but you have to respect her for giving it the old college try, especially when she's constantly in a state of profound and sustained culture shock.

Overall, Baldwin does not enjoy the changes to the world since she left it. She does not enjoy having gone in a beautiful young girl with her life ahead of her, and come out a middle-aged woman who's missed all the milestones that everyone around her takes for granted. She does, however, profoundly enjoy her freedom, and soon begins to cherish an all-consuming dream of purchasing a Small House of her Very Own where she can do whatever the hell she wants whenever the hell she wants. After decades in a convent, you can hardly blame her for this. On the other hand -- fascinatingly, to me -- it's very clear that Baldwin still somewhat idealizes convent life, despite the fact that it obviously made her deeply miserable. She has long conversations with her judgmental relatives, and long conversations with us, the reader, in which she tries to convince them/us of the real virtues of the cloister; of the spiritual value of deep, deliberate, constant self-sacrifice and self-abegnation; of the fact that it's important, vital and necessary that some people close themselves away from work in the world to focus on the exclusive pursuit of God. It is good that people do this, it's spiritual and heroic, it's simply -- unfortunately -- the only case in which she's ever known the church to be wrong in assessing who does or does not have a genuine vocation after the novice period -- not for her.

Baldwin is a fascinating and contradictory person and I enjoyed spending time with her quite a bit. I suspect she wouldn't much enjoy spending time with me; she will keep going to London and observing neutrally that it seems the streets are much more full of Jews than they were before she went into the convent, faint shudder implied. At another point she confesses that although she'd left the convent with 'definite socialist tendencies,' actually working among the working people has changed her mind for the worse: 'the people' now impressed me as full of class prejudice and an almost vindictive envy-hatred-malice fixation towards anyone who was richer, cleverer, or in any way superior to themselves. Still, despite her preoccupations and prejudices, her voice is interesting, and deeply eccentric, and IMO she's worth getting to know. This is a woman, an ex-nun, who takes Le Morte D'Arthur as her beacon of hope and guide to life. Le Morte! You really can't agree with it, but how can you not be compelled?

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skygiants @ 2026-01-19T07:48:00

2026-01-19T13:48:52Z

For the first few chapters that I read, I was enjoying Ava Morgyn's The Bane Witch, as heroine Piers Corbin heroically Gone Girled herself out of an abusive marriage by faking a combo poisoning-drowning and flailed her injured way north to seek refuge with a mysterious aunt, accidentally leaving a fairly significant trail behind her. Satisfying! Suspenseful! I was looking forward to seeing how she was gonna get out of this one!

Then Piers did indeed get north to the aunt and tap into her Family Birthright of Magical Revenge Poisoning. As the actual plot geared up, the more I understood what type of good time I was being expected to have, and, alas, the more it did, the less of a good time I was having.

So the way the family magic works is that all of the Corbin women have the magical ability -- nay, compulsion! -- to eat poison ingredients and convert them internally into a toxin that they can -- nay, must! -- use to murder Bad Men. It's always Men. They're always Bad. They know the men are Bad because they are also granted magical visions explaining how Bad they are. They absolutely never kill women (there are only ever women born in this family; they have to give male babies away at birth in case they accidentally kill them with their poison, and I don't think Ava Morgyn has ever heard of a trans person) or the innocent!

...except of course that the whole family is actually threatening to kill Piers, to protect themselves, if she doesn't accept her powers and start heroically murdering Bad Men. But OTHER THAN THAT they absolutely never kill women, or the innocent, so please have no qualms on that account! Piers' aunt explains: "Yes, Piers. Whatever has happened to you, you must never forget that there are predators and there are prey. We hunt the former, not the latter."

By the way, both irredeemably Bad Men that form the focus of Badness in this book -- Piers' evil and abusive husband, and the local serial killer who is also incidentally on the loose -- are shown to have been abused in childhood by irredeemably Bad Women, but we're not getting into that. There are Predators and there are Prey!

The book wants to make sure we understand that it's very important, righteous and ethical for the Cobin family to keep doing what they're doing because everybody knows nobody believes abused women and therefore vigilante justice is the only form of justice available. There are two cops in the book, by the way. One of them is the nice and ethical local sheriff who is Piers' love interest, who is allowing her to help him hunt the local serial killer despite being suspicious that she may have poisoned several people. The other is the nice and ethical local cop investigating her supposed murder back home, who is desperate to prove she's alive because she saved his life and he's very grateful. He understands about abuse, because his name is Reyes and he's from the Big City and his mother and sister were both abused by Bad Men. The problem with these good and handsome cops is that they're actually not willing enough to murder people, which is where Piers comes in:

HANDSOME GOOD COP BOYFRIEND: You don't want to help me arrest him, do you? You want to kill him.
PIERS: Doesn't he deserve it?
HANDSOME GOOD COP BOYFRIEND: That's not for us to decide.
PIERS: Isn't it? This is our community. You're an authority in maintaining law and order, and I'm a victim of domestic and sexual violence. Surely, there is no one more qualified than us.

This book was a USA Today bestseller, which does not surprise me. It taps into exactly the part of the cultural hindbrain that loves true crime, and serial killers, and violence that you can feel good about, in an uncomplicated way, because it's being meted out to Unquestionably Bad People. Justice is when bad people suffer and die. We're not too worried about how they turned out to be bad people. There are predators, and there are prey.

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skygiants @ 2026-01-14T20:28:00

2026-01-15T01:55:00Z

On the first weekend of January genarti and I went along with some friends to the Moby-Dick marathon at the New Bedford Whaling Museum, which was such an unexpectedly fun experience that we're already talking about maybe doing it again next year.

The way the marathon works is that people sign up in advance to read three-minute sections of the book and the whole thing keeps rolling along for about twenty-five hours, give or take. You don't know in advance what the section will be, because it depends how fast the people before you have been reading, so good luck to you if it contains a lot of highly specific terminology - you take what you get and you go until one of the organizers says 'thank you!' and then it's the next person's turn. If it seems like they're getting through the book too fast they'll sub in a foreign language reader to do a chapter in German or Spanish. We did not get in on the thing fast enough to be proper readers but we all signed up to be substitute readers, which is someone who can be called on if the proper reader misses their timing and isn't there for their section, and I got very fortunate on the timing and was in fact subbed in to read the forging of Ahab's harpoon! (genarti ALMOST got even luckier and was right on the verge of getting to read the Rachel, but then the proper reader turned up at the last moment and she missed it by a hair.)

There are also a few special readings. Father Mapple's sermon is read out in the New Bedford church that has since been outfitted with a ship-pulpit to match the book's description (with everyone given a song-sheet to join in chorus on "The Ribs and Terrors Of the Whale") and the closing reader was a professional actor who, we learned afterwards, had just fallen in love with Moby-Dick this past year and emailed the festival with great enthusiasm to participate. The opening chapters are read out in the room where the Whaling Museum has a half-size whaling ship, and you can hang out and listen on the ship, and I do kind of wish they'd done the whole thing there but I suppose I understand why they want to give people 'actual chairs' in which to 'sit normally'.

Some people do stay for the whole 25 hours; there's food for purchase in the museum (plus a free chowder at night and free pastries in the morning While Supplies Last) and the marathon is being broadcast throughout the whole place, so you really could just stay in the museum the entire time without leaving if you wanted. We were not so stalwart; we wanted good food and sleep not on the floor of a museum, and got both. The marathon is broken up into four-hour watches, and you get a little passport and a stamp for every one of the four-hour watches you're there for, so we told ourselves we would stay until just past midnight to get the 12-4 AM stamp and then sneak back before 8 AM to get the 4-8 AM stamp before the watch ticked over. When midnight came around I was very much falling asleep in my seat, and got ready to nudge everyone to leave, but then we all realized that the next chapter was ISHMAEL DESCRIBES BAD WHALE ART and we couldn't leave until he had in fact described all the bad whale art!

I'm not even the world's biggest Moby-Dick-head; I like the book but I've only actually read it the once. I had my knitting (I got a GREAT deal done on my knitting), and I loved getting to read a section, and I enjoyed all the different amateur readers, some rather bad and some very good. But what I enjoyed most of all was the experience of being surrounded by a thousand other people, each with their own obviously well-loved copy of Moby-Dick, each a different edition of Moby-Dick -- I've certainly never seen so many editions of Moby-Dick in one place -- rapturously following along. (In top-tier outfits, too. Forget Harajuku; if you want street fashion, the Moby-Dick marathon is the place to be. So many hand-knit Moby Dick-themed woolen garments!) It's a kind of communal high, like a convention or a concert -- and I like concerts, but my heart is with books, and it's hard to get of communal high off a book. Inherently a sort of solitary experience. But the Moby-Dick marathon managed it, and there is something really very spectacular in that.

Anyway, as much as we all like Moby-Dick, at some point on the road trip trip, we started talking about what book we personally would want to marathon read with Three Thousand People in a Relevant Location if we had the authority to command such a thing, and I'm pitching the question outward. My own choice was White's Once And Future King read in a ruined castle -- I suspect would not have the pull of Moby-Dick in these days but you never know!

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skygiants @ 2026-01-01T20:28:00

2026-01-02T01:29:28Z

Aha! it's Yuletide reveals time!

So my Yuletide recipient this year was genarti, who is either just about to find out this fact from my post, or has known for weeks and is just biding her time to reveal her knowledge and I'm just about to find out that fact after she reads this. Stay tuned for breaking developments!

So, for her, I wrote The Villainous Princess Saves Her Kingdom, a fix-it fic for the kdrama Jeongnyeon: The Star Is Born about the most dysfunctional lesbian of that whole cast of lesbians picking up various postcanon pieces of herself and incidentally the rest of the troupe.

HOWEVER, for obvious reasons, I had to immediately come up with a decoy fic, so from the beginning having read raven's Yuletide letter at the same time I happened to be rereading The Dispossessed I decided I was also going to write a treat for raven that I would present to genarti as my assignment, which ended up as More A Comment Than A Question, a strange little timebending fic about Shevek's daughter contacting Laia Aseio Odo through time and space and not really necessarily making the most of it.

Tangled webs, etc; after I had confidently reported submitting my decoy fic on deadline to genarti, raven's prompt went to the pinch-hit list and I had to frantically fake a different panic than the panic I was actually feeling -- ANYWAY. Hilariously, raven discovered my identity immediately due to the usernames reveal error whereas genarti was at church through that entire event and thus remained completely oblivious (unless, of course, she isn't, see first paragraph above.) A very chaotic Yuletide on several fronts! But I had a lot of fun writing both fics although I would prefer not to be wrangling quite this much deception every year.

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skygiants @ 2026-01-01T11:30:00

2026-01-01T16:49:39Z

Due to the combo of the ongoing Eight Days of DWJ project and being on the Otherwise judging committee, this has been one of my best years in recent memory for reading actual books and my worst for keeping up with write-ups.

( Books read, 2025 )

As usual, I'm hoping to write up many of the ones I missed and will probably not in fact actually get around to most of them, so feel free to ask me about any of them -- I'll try to either do a short version here or get myself together for an actual post!

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skygiants @ 2025-12-31T16:12:00

2025-12-31T21:54:41Z

For my last post of 2025 I feel it is incumbent upon me to talk about the wildest television show I watched in 2025, the kdrama Genie, Make A Wish.

The high-level premise of this show: a GENIE, who is also SATAN, has been IMPRISONED for ONE THOUSAND YEARS because he's supposed to seduce humans into CORRUPTING THEMSELVES and instead he met a PURE SOUL who used her WISHES FOR GOOD and caused him to LOSE his BARGAIN with GOD.

Now! he has met her REINCARNATION! however! instead of being a PURE INGENUE WAIF! the reincarnation is an ETHICAL SOCIOPATH who has been STRICTLY TRAINED in NOT MURDERING PEOPLE by her BELOVED GRANDMOTHER! and whose first reaction on meeting a magical immortal genie is 'at last! someone I can ethically shove off a building!!'

(This meeting happens in Dubai, btw. The show is very obviously at least in part sponsored by the Tourism Board of Dubai and the cast are frequently hopping back and forth there to Shop Our Beautiful Bazaars and speak in variably competent Arabic; however, as a result, this means the backstory involves historical trade routes! the last time I saw that was in Queen Seondeok!)

ANYWAY, now, the challenge is on: will ethical sociopath Ki Ka-young be CORRUPTED by SATAN the GENIE? or will she once again make SELFLESS WISHES and condemn the genie to have his THROAT SLIT by an ANGRY ANGEL OF DEATH?

There are also some side characters! People in Ki Ka-young's orbit include her SAINTLY GRANDMOTHER and her BEST FRIEND, a LESBIAN DENTIST. People in the genie's orbit include his GIANT PANTHER MINION, the ANGRY ANGEL OF DEATH, and a SMALL BOY who consistently beats him in Mortal Kombat. There are also some LOCAL COTTAGECORE YOUTUBERS, a circle of ADDITIONAL JUDGMENTAL GRANNIES, a RELATIVELY UNIMPORTANT SERIAL KILLER, an EVIL IMMORTAL CHILD, and DANIEL HENNEY, in a role that ( I will not spoil except under a cut )

Let me be clear: is this drama good? no, I do not think so. Do I have arguments with its determinations about what does and does not count as a selfless wish? sure. Did I enjoy it? TREMENDOUSLY. Did I at any point have any idea what was going to happen next in this absolute mad libs of a plot? NEVER ONCE.

however, the thing that made me shriek most about the drama is a major mid-show spoiler ( regarding Beloved Grandma )

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skygiants @ 2025-12-29T08:11:00

2025-12-29T13:58:43Z

The Queen's Embroiderer: A True Story of Paris, Lovers, Swindlers, and the First Stock Market Crisis did quite a good job of giving me historical context around the lives of artisans and upwardly mobile bourgeois in 17th and early 18th century France and only a mediocre job IMO of convincing me of its central argument, but I was reading it for the former and not the latter so I can't say I was disappointed per se ...

As the author, historian Joan DeJean, introduces her narrative, she was browsing the National Archives when she came across two documents: the first, appointing Jean Magoulet as official embroiderer to Queen Marie-Thérèse of France; the second, decreeing that Magoulet's daughter Marie Louise should be put in prison and deported to New Orleans on charges of prostitution. DeJean immediately dropped what she was doing to Get To The Bottom Of This and went on a deep dive into the entire Magoulet family as well as the family of Louis Chevrot, the young man whose involvement with Marie-Louise resulted in the charges above.

In order to write this family saga, Joan DeJean has pulled out every relevant family document -- marriage licenses, birth certificates, guardianship statements, criminal charges, recorded purchases, etc. etc. -- and she does a clear and interesting job of explaining what we can learn from them, what these kinds of documents normally look like and what their context is, what the specific features of these family documents imply, and letting you follow her logic with your own brain. I appreciate this very much! I had no idea, for example, that it was standard in 17th-century France for the court to appoint a guardian for any child who lost a parent, even if they still had the other parent living, to ensure that their financial interests were protected, something that came up often in this narrative where a lot of kids were losing parents in situations where their financial interests were not particularly protected. It's a really good example of historical detective work, how you can draw a picture of a family through time through the bureaucratic litter they leave behind, and I appreciated it very much.

On the other hand, Joan DeJean also occasionally slips into writing like this --

In the course of their attempts both to get rich quick and to save their skin when they got into bad straits, the Queen's Embroiderers became imposters, tricksters, con artists nonpareil. They lied about everything and to everyone: to the police, to notaries, to their in-laws. They lied about their ages and those of their children, about their professional accomplishments and their net worth. They caroused; they philandered; they made a mockery of the laws of church and state. The only truly authentic thing about them was their extraordinary talent and their ability to weave gold and silver thread into the kind of garments that seemed the stuff of dreams. In their lives and on an almost daily basis, haute couture crossed paths with high crime.

Savage beauty indeed.

-- which made me laugh out loud every time it happened. So, bug, feature? who could say ....

Anyway, Joan DeJean makes a pretty good argument for most of the family gossip she pulls out about the Magoulets and the Chevrots, but the center of her argument about the Great Tragic Romance between Marie-Louise Magoulet and Louis Chevrot rests on a really elaborate switcheroo that I simply do not buy. In drawing out her family saga, DeJean has become obsessed with the fact that there seem to have been two Marie-Louise Magoulets, one being more than a decade older than the other, and, crucially, also more than a decade older than Louis Chevrot; ( I guess this is technically spoilers for a three hundred year old scandal )

But a.) context about material culture and craftsmanship is what I was here for and context is what I got, in spades, and b.) if you're going to invent a historical conspiracy theory, make it as niche as possible, is what I say, so despite the fact that I don't BELIEVE DeJean I still spiritually support her. Has she perhaps connected a few more dots than actually exist? Perhaps. But I still certainly got my money's worth [none; library] out of the book!

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skygiants @ 2025-12-26T22:40:00

2025-12-27T04:18:57Z

Every year I'm like "I should really read the Neon Hemlock novellas" and then perhaps I actually manage to get around to reading one of them, but this year I ... thought I had read all of them because I thought there were only four published but it turns out in fact now that I check there were several more than that. Well! I read four of them! They were all very gay and very tropey; under these subheadings, I enjoyed two of them quite a bit, one of them didn't hit for me, and the last one I found incredibly frustrating, for personal reasons.

The two I liked were No Such Thing as Duty, by Lara Elena Donnelly, and The Oblivion Bride, by Caitlin Starling. Both of these have a definite air of fanfiction about them: No Such Thing As Duty is a 'what if my favorite historical guy met a sexy vampire' fic, the favorite historical guy in question is W. Somerset Maughan. I have come to the conclusion that I'm really quite charmed by this sort of thing as long as the favorite historical guy in question is not a pre-existing big seller like Christopher Marlowe or Charlotte Bronte but someone who I actually have to look up:* the author's real victory is in making me Wikipedia their special historical guy and go 'whoa, sure, lot going on here actually'

*I'm aware this is very subjective and there are many people out there who don't have to go to Google to know basic things about W. Somerset Maughan. But they ARE a lot fewer I think than the people who don't have to go to Google to know basic things about i.e. Lord Byron. That said, if you are experiencing boredom at the idea of Yet Another Sexy W. Somserset Maughan fic, I'd love to know about it.

The Oblivion Bride meanwhile is a classic Lesbian Arranged Marriage fic that, per the author's note, appears to have grown out of a Dishonored fic the author wrote several years back. I don't know anything about Dishonored so I can't tell you much about that. What I can tell you is that she's a normalgirl cadet member of an important family who's been thrust into an important political position because all her actual aristocratic relatives have mysteriously died, she's an icy cold Murder Alchemist General and also Magical Detective who's marrying her by order of the prince to solve the mysterious deaths and keep the political assets in the hands of someone loyal to the throne; could they actually fall in love? The answer will shock you! Anyway, I like tropes, and I like lesbians, and I like that Caitlin Starling is never afraid to lean into her id; I was as happy to read this in novella form as I would have been on AO3.

The Dead Withheld by L.D. Lewis is the one that didn't quite hit for me -- it's a supernatural noir about a PI who can talk to the dead investigating the cold case death of her wife, and it is doing exactly what it says on the tin but something about it never quite grabbed me. Too short? Not enough oomph? Anyway, it might grab you!

and The Iron Below Remembers by Sharang Biswas drove me up a wall, in large part because the worldbuilding it's doing is extremely playful and interesting and fun -- it's set in an alternate universe where a South Asian empire was the major early colonial power instead of Rome, and their abandoned artifacts and technology power contemporary superheroes. The protagonist is an academic dating a superhero; the text is heavily footnote-studded and 50% of the footnotes are really fun and interesting little explorations of this alternate history. Unfortunately for me, the actual plot laid on top of this rich worldbuilding is all Gay Superhero Relationship Drama and the other 50% of the footnotes are gossipy anecdotes about the protagonist's sex life. This is certainly going to be a feature for some people but was, alas, a bug for me; every time I went through the effort to click through the annoying footnotes format on my digital edition I was really hoping to get a meaty paragraph about what happened after Siddhartha marched into the city of Rime and did not feel rewarded any time I got a smug half-sentence about shibari instead.

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