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I gave this book a reread before getting to the sequel because it had been a bit.

I forgot how this book starts off with such a YA anime-esque tone. There's something about celebrity mecha pilots and media companies that rings a lot of hunger games-esque bells. But the world itself is almost too overly defined, where pilots have an objective "spirit pressure" for their piloting strength and there's both a mecha and enemy taxonomy that feel like something that could go into a wikipedia entry. In the end, these largely (thankfully) fall away and are more hook than truth.

One thing that's interesting to me is that Wu Zetian is a messy character who does unlikeable things at times. The plot is fundamentally a revenge plot that escalates, and she's willing to get her hands dirty to do what she feels is right.

The book ends on a bit of a cliffhanger, but it manages to be satisfying all the same. For a book where Zetian has literally smashed through everything holding her back, it's compelling to add some elements for the next book that can't be overpowered through ruthlessness.

These Fragile Graces is a fun trans noir murder mystery novella. It's a story that focuses much more on interpersonal and community relations than it does on a well-plotted mystery or detailed worldbuilding. That focus also sums up my feelings about what I felt worked and didn't in the story.

Mostly, I wish the mystery plot was a little bit more cohesive, and that there was more detail about the state of the world itself rather than being in a vague near-future urban decay. I loved the small detail of having memory implants to deal with trauma-based dissociation from childhood, but I wish the ideas around implants/augments and a rejection syndrome connected more to the plot.

It is nice to see an anarchist commune in fiction (I feel like maybe I've only read this in Margaret Killjoy's work previously) and how the protagonist Dora wrestles with her relationship with the people in it, wishing she could keep them safe in ways that they don't want to be. And, the heart of this novel is a very trans story about how Dora deals with a (non-estrogenated) clone of herself who comes to murder her but she ultimately ends up protecting. From the moment her clone showed up and yelled traitor, I knew exactly where this story was going, but it was still satisfying to get there all the same.

#SFFBookClub

I love a mystery! I love an epistolary novel! However, The Examiner just did not work for me. This is largely going to be a negative review, so feel free to skip. If I wanted to pitch this book positively, I would say that it is a mystery novel about an art master's program told through the artifacts of its forum posts, class assignments, and group chats. An external examiner has been called in to make an accounting of the program, and becomes increasingly concerned that somebody may have died during the course of the class.

This is my first Janice Hallett book, and most of the way I bounced off of it is that the writing doesn't feel like text chat. Everybody capitalizes sentences and ends with full stops. There's very few sentence fragments. Characters have a largely similar writing style, even when they range from ages 20 to 60. The writing was so stilted that I almost set it down several times. I looked up some reviews (which were almost all hugely positive) that suggested there were interesting twists later, so I pushed through to a painful and bewildering end.

Honestly, the author really needs to go read Gretchen McCulloch's Because Internet about the different ways people speak online, especially in generational senses. It'd also be great if only the emails and essays were business formal so that there could be different modalities of communication, but everybody sounds equally stilted in their private chats. There's a rare sprinkle of "OMG" and "FFS" thrown in (always capitalized) in a way that feels the author is trying too hard while holding a skateboard over their shoulder.

I am a huge sucker for telling a story through online artifacts, and so in my mind I compare this with other fiction that has done this much more effectively. I would recommend instead Sarah Pinsker's Where Oaken Hearts Do Gather short story or even the posts in Christine Love's don't take it personally, babe, it just ain't your story game or the text chat in Naomi Kritzer's Catfishing on CatNet novels. These all feel like real people writing online in ways that this novel did not.

I'm going to try to speedrun the rest of my grumps here.

The pacing is wild. It takes sixty percent of the book before you get any sense of what might be going on. To me, this doesn't feel like a proper mystery where the reader has any chance of understanding the whodunnit until it's brought directly to their attention with new details. There's often plenty of bread crumbs that make (some of) the reveals feel plausible, but there's just not enough here. Also, when the first half of the book is such low stakes academic squabbling, it's hard to care more deeply about it when you find out there's secret reasons behind some of it. Telling me for half the book that something more interesting has been going on secretly that I haven't seen yet is just not effective storytelling.

The descriptions of the way technology works big and small are ridiculous in ways that threw me off as a reader.

The politics are wild! This book has some discussion about environmentalism and ecology, and one might think there could be some good things to be concerned about, maybe around checks notes capitalism or global warming or oil pipelines or pollution. (spoilers but haha jk these are definitely not the environmental concerns of this story)

Sure, sure, there are some twists and reveals of things the reader may have guessed or in other cases had no way of knowing. I'll be kind and not spoil them here, but some of them are just wildly implausible and so disconnected from what the rest of the book is about that it makes the book feel scattered.

At any rate, not a fan, would not recommend.

This was the #SFFBookClub book for February 2025. I am honestly a little surprised that it got a sequel. While I enjoyed it, I think this book suffers a little from being in the shadow of such a strong first book. It brings back nearly every character, although rooted in one world rather than worldhopping, and as such you really need to have read the first book to enjoy this one. The pitch for this book read almost as a murder investigation, but with foreknowledge from book one, it seemed incredibly obvious what the cause could be. This could just be a case of incorrect expectations on my part that the book would have more of a mystery element.

Thematically, I'm here for this story about justice and tearing down borders that separate the hoarding and exploitative rich from the poor. Here for the anger about how these rich people will casually break promises and ignore consequences for undesirable people. This book ends up feeling extremely quotable, but in doing so sometimes come off as didactic and telling more than it shows, even while I am nodding my head in agreement.

One thing I think this book does really well is having the main character from the previous book show up here as a foil to the new main character Scales. We get to see ways in which Scales and Cara are very different people and the biases that Cara brought to the world. It also means that we get to see the runners and Nik Nik in a much different light than the first book too. Cara could have stolen the show, and the book manages to make it not about her.

This is the step some civilians don't understand, the step Cara rejects: We can only make good on our promise of protection if there's blood on our hands. We can't bluff. The city only speaks the language of power, and we have to speak it right back for them to listen.

A minor observation, but I feel like there's a psychological shift in recent fiction (or in me) from "violence is never the answer" to "existing power will only respect violence". Babel (and its explicit subtitle) is certainly example of this too.

I wanted to like this queer witchy Appalachian book a lot more than I ended up enjoying it. The setup is that Benethea Mattox has sacrificed everything to find out why her friend mysteriously died in a mining accident; she rescues a mysterious woman from a river, who turns out to be a hundred plus year old witch with her own vendetta.

The perspective of the book alternates between Bennie in the present and Motheater in the past. What doesn't work for me is that most of the interesting tension happens in the past; Bennie's own agency and mystery solving in the present is largely subsumed in service to helping Motheater with her own plot.

One interesting observation is that I read the conflict as being between protecting the people vs protecting the land. Motheater wants to provide for her people but is competing with the growing needs and desires of her town that lead them to increased mining, either on their own or through a company. Surprisingly, this turned out to be much less than I expected about mining companies exploiting people than it was about mining generally hurting the environment.