enne📚 replied to screamsbeneath's status
@screamsbeneath@bookwyrm.social ooooh thanks for this review, I hadn't heard of this and the things you say sound great
I read largely sff, some romance and mystery, very little non-fiction. I'm trying to write at least a little review of everything I'm reading this year, but it's a little bit of an experiment in progress.
I'm @picklish@weirder.earth elsewhere.
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@screamsbeneath@bookwyrm.social ooooh thanks for this review, I hadn't heard of this and the things you say sound great
LM Sagas's Cascade Failure is a debut sf novel about found family on a scrappy spaceship working against the evils of capitalism. You love to see it. I don't know why this trope is such catnip for me, but I could really read so much of this.
It's full of snappy dialogue, fun relationships, and action-filled set pieces. Honestly, so much of the book felt visual that I could easily imagine a comic or film adaptation. The relationships between the characters, especially Jal and Saint, had a lot of depth.
I wish there was a little bit more heft to the worldbuilding. It's a space corporations vs unions situation (although it gets at some good nuance about how these can work too closely together), with a guild that sits sort of outside that. I didn't really get much sense of what guild hierarchy Captain Eoan existed in, as it seemed …
LM Sagas's Cascade Failure is a debut sf novel about found family on a scrappy spaceship working against the evils of capitalism. You love to see it. I don't know why this trope is such catnip for me, but I could really read so much of this.
It's full of snappy dialogue, fun relationships, and action-filled set pieces. Honestly, so much of the book felt visual that I could easily imagine a comic or film adaptation. The relationships between the characters, especially Jal and Saint, had a lot of depth.
I wish there was a little bit more heft to the worldbuilding. It's a space corporations vs unions situation (although it gets at some good nuance about how these can work too closely together), with a guild that sits sort of outside that. I didn't really get much sense of what guild hierarchy Captain Eoan existed in, as it seemed like they and the crew largely went off and did whatever they pleased.
Overall, my take is that this was fun but not amazing, and I'd read more by this author or in this universe for sure.
@screamsbeneath@bookwyrm.social I quite enjoyed the Foundryside books! They're a bit different in tone; Tainted Cup is obviously strongly in the mystery genre and Foundryside is more fantasy/heist with an even more industrial-era bent. "As good as" is hard to answer, but "extremely high on my fantasy book recommendation list" is definitely true.
Happy to answer anything more specific!
This book was fantastic. The setup is that shapeshifting, people-eating, amorphous blob Shesheshen is rescued by overly kind Homily, believing Shesheshen to be a person. Ironically, Homily comes from a monstrously toxic family of wyrm hunters, who are all out to kill Shesheshen specifically, while not realizing that Shesheshen is said monster. (Hijinks ensue.)
It's a story that deals with passing and masking--Shesheshen works really hard at trying to be a person, physically and socially assembled from what she can scavenge. She's got a wry non-human perspective that's especially biology-focused, like how to form legs and have a humanish shape, the tricky mechanics of eating with your mouth closed, and the overwhelmingness of smells and noises.
This book also deals with physically and emotionally abusive family, and how hard it is to struggle through trauma, no matter how much you are being hurt. Also, as you might expect, this …
This book was fantastic. The setup is that shapeshifting, people-eating, amorphous blob Shesheshen is rescued by overly kind Homily, believing Shesheshen to be a person. Ironically, Homily comes from a monstrously toxic family of wyrm hunters, who are all out to kill Shesheshen specifically, while not realizing that Shesheshen is said monster. (Hijinks ensue.)
It's a story that deals with passing and masking--Shesheshen works really hard at trying to be a person, physically and socially assembled from what she can scavenge. She's got a wry non-human perspective that's especially biology-focused, like how to form legs and have a humanish shape, the tricky mechanics of eating with your mouth closed, and the overwhelmingness of smells and noises.
This book also deals with physically and emotionally abusive family, and how hard it is to struggle through trauma, no matter how much you are being hurt. Also, as you might expect, this book is also about family and royalty being the true monsters.
Normally, I am not keen on stories where a good bit of relationship tension comes from an intentional deception leading up to an eventual awkward reveal. Even if you ignore the self-protective reasons here, I think the setup in this book works partially for comedy reasons, as Shesheshen considers devouring Homily at the outset, but as she gets more entangled in Homily's family life, it also works as a deception told for protective reasons. It narratively worked for me enough to not be feeling "just tell her already!" throughout the book. The fact that there are a number of worse deceptions elsewhere also makes this feel more minor than you'd imagine it could be.
I devoured (pun not intended) the whole book in one day. Strong recommend from me.
This was the same mistake so many humans made: believing someone would leap over trauma when it hurt them badly enough. That wasn't how it worked, and the monster knew it. All Shesheshen could do for Homily was be patient with her, and make space for her, and, eventually, one day behind her back, eat her mother.
— Someone You Can Build a Nest In by John Wiswell (Page 173)
No young woman of means has gone through her entire life without at least once surveying her opportunities and wishing for a dragon instead.
— Someone You Can Build a Nest In by John Wiswell (Page 248)
Content warning spoilers for Like Thunder
I have mixed feelings about Jaa being killed off page. It did create space for the young protagonists to succeed, but it also felt very sudden and off page. Similarly, I felt like sort of jamming Dikéogu and Arif into the same "two husbands one wife" category that Jaa had going on felt a little bit forced. It didn't really happen explicitly in the book, but a character jokes about it and you can see the dynamics starting to form, but it feels much more told than shown.
This second book in the duology worked better narratively for me than the first, and I felt like it was more of a conclusion to everything the first set up. Structurally, the frame story and missing time (along Dikéogu's separation from Ejii) paid off for me narratively in how they created a lot of expectation holes to fill in later.
(A few extra spoilery thoughts here: https://books.theunseen.city/user/picklish/status/130577#anchor-130577)
I feel a little bit bad here because my overall conclusion for both of these books feels a bit like I kind of just "didn't get it", but maybe this is just an older work by an author whose newer work I've enjoyed quite a bit more.
Shadow Speaker is the first book in a YA duology set in a future Africa where "peace bombs" have given people magic powers and changed the world in unexpected ways. Forests grow spontaneously, some tech has stopped working, other worlds are slowly merging into earth, plants are carnivorous, sentient whirlwinds attack people in the desert, and travelling alone has become especially dangerous.
I enjoyed reading this especially for the worldbuilding ideas, but it is also a YA travel romp--new places and people were constantly being introduced and I lost any greater sense of foreshadowing or closure as everything new and shiny shallowly whirled by. I'm interested to see where the second book's different perspective goes and if it can build a story that I find more satisfying on the grounds that the first one established.
Was separation necessary for a romance? Were obstacles, real or illusory, a requirement? Was that why I could not feel satisfied when we were easy together (even if I was happier that way than when we were apart)?
— The Imposition of Unnecessary Obstacles by Malka Older (Mossa and Pleiti, #2) (Page 84)
The Imposition of Unnecessary Obstacles is the second book in the Mossa & Pleiti series, set on in a future steampunk Jupiter.
It may just be because I have read some great mysteries this year (hi, Tainted Cup!) and so I'm coming in with a high bar, but the mystery of this book feels quite thin. Compared to the last book, this mystery is more telegraphed for the reader to be able to solve it themselves; however, the mystery unspools slowly with little tension, Pleiti solves too many puzzles off page, and the final confrontation is underwhelming.
I think this sounds more negative than I feel about this book. I thought it was fun, I continued to really dig the worldbuilding and the setting, and it was cozy to get back into it; I think my expectations were high and the parts I enjoyed weren't quite enough to satisfy this …
The Imposition of Unnecessary Obstacles is the second book in the Mossa & Pleiti series, set on in a future steampunk Jupiter.
It may just be because I have read some great mysteries this year (hi, Tainted Cup!) and so I'm coming in with a high bar, but the mystery of this book feels quite thin. Compared to the last book, this mystery is more telegraphed for the reader to be able to solve it themselves; however, the mystery unspools slowly with little tension, Pleiti solves too many puzzles off page, and the final confrontation is underwhelming.
I think this sounds more negative than I feel about this book. I thought it was fun, I continued to really dig the worldbuilding and the setting, and it was cozy to get back into it; I think my expectations were high and the parts I enjoyed weren't quite enough to satisfy this time around.
What else are we doing here but looking for our little bit of forever? Otherwise, what's the point?
— Siren Queen by Nghi Vo (Page 173)
I'm curious, though, and my father said that if I could be curious instead of afraid, things would probably work out some kind of right.
— Siren Queen by Nghi Vo (Page 210)
I suggested this for #SFFBookClub, and so I gave this a reread so I could enjoy it again. I love the way this novel takes Hollywood and its obsession with stars and all of its racism and homophobia, and mixes it with fey magical realism. Overall, it's definitely a book whose strengths are in its setting and its writing, rather than in a tight plot, but I still love the characters.
In particular, probably my favorite part of this book are the constant turns of phrase that bring in fey elements at unexpected times. You're just reading along and then you get hit with a line like "The cameras were better now, I told myself. They had tamed them down, fed them better." Silent movies steal people's voices. Film stars are (ambiguously but also maybe literally) stars in the sky and wield their star power. Names are sacrificed, or …
I suggested this for #SFFBookClub, and so I gave this a reread so I could enjoy it again. I love the way this novel takes Hollywood and its obsession with stars and all of its racism and homophobia, and mixes it with fey magical realism. Overall, it's definitely a book whose strengths are in its setting and its writing, rather than in a tight plot, but I still love the characters.
In particular, probably my favorite part of this book are the constant turns of phrase that bring in fey elements at unexpected times. You're just reading along and then you get hit with a line like "The cameras were better now, I told myself. They had tamed them down, fed them better." Silent movies steal people's voices. Film stars are (ambiguously but also maybe literally) stars in the sky and wield their star power. Names are sacrificed, or hidden for protection. These pieces give the story some extra teeth and a darker edge of danger that always feels present at the margins. The extra ambiguity over what's real in a story about movie magic is delicious.
I have mixed feelings about parts of the end, especially with the trip to San Francisco. I think this is probably the part where the novel loses me a little bit. The pieces work well, but the pacing is a little jarring. It's nice to have a moment to come full circle to Luli's sister, the reveal of art outside of Hollywood that Luli has been too tunnel-visioned to see, and the continuing contrast of the realness of Tara and other places with the fey world of movies. I like the depth that this journey adds, and I'm not sure where else arguably in the novel that it would go.
"What so great about being seen?" Tara demanded. "What's so important about that?"
She might have had the words for it, but I didn't. They locked up in my throat, about being invisible, about being alien and foreign and strange even in the place where I was born, and about the immortality that wove through my parents' lives but ultimately would fail them. Their immortality belonged to other people, and I hated that.
One thing I saw in this reread was how much the book played with "being seen": fey bargains to get seen in pictures; pressure about being seen in "wrong" ways; being mis-seen as Mexican instead of Venezuelan; being asked to make do things to be seen as straight and married; the fear of being seen as crossing class lines or being seen as queer and butch.
You can't expect me to take your word for things when I could work myself into a frenzy about them instead. Where would that get us?
— Subtle Blood by K. J. Charles (Page 22)