lightreads: a partial image of a etymology tree for the Indo-European word 'leuk done in white neon on black'; in the lower left is (Default)
3/5. Another novella in this fantasy series about the scholar who has a demon in his head. This one about a misadventure with teens in tow, and how families grow and change, and young people starting to find their way.

Pleasant, but I continue to think that there is a tidiness to these books that keeps me from really liking them. It’s not just the knowledge that everything will work out in the end, which it generally does, but occasionally not. I think it’s that she’s set up this theological system to be a bit . . . I don’t know. Categorical? Hogwarts house-y? Overly interventionist? IDK, these books feel terminally undangerous in the midst of dangerous things happening. Angsty teens figure out their life plans in 30,000 words or less. Everyone has a salutary lesson. Go home. I’m not expressing it well. Whatever it is, I think it emanates from the theology, and it renders these books just a little bit too neat, too easy.
lightreads: a partial image of a etymology tree for the Indo-European word 'leuk done in white neon on black'; in the lower left is (Default)
Lady Hotspur

3/5. What if Henry IV (loosely) but make it epic fantasy and make most of the major players women, and make most of those women queer.

Yes, there is a prequel book that I did not read, because I do what I want. This would probably be richer if you read in publication order, but it’s one of those situations where the prior book is set several generations before, so, you know.

Anyway, yes, the premise sounds great, and large portions of this book are wonderful. This manages to feel Shakespearean, and I don’t mean that it feels tragic (though it has that mode). It’s bawdy and political and deeply concerned with how history turns upon character, and how people stand or fall on their flaws. It also has a tremendous sense of the numinous and, getting somewhat less Shakespearean here but also not in another realm or anything, a wonderful touch with multiple shades of queerness and how that functions or doesn’t in monarchist systems.

However, while I’ve read books that were too long, I can’t remember the last time I read one that was at least a hundred thousand words too long. Phew. That is truly impressive bloat. I would be rating this higher if it were like 40% shorter (which would still make it a damn long book, to be clear). I lost patience with this multiple times. I always came back and found something to enjoy again, but man.

Read if you really like queer lady knights, women running the world, that Shakespeare feeling, and a book that feels as if it is tremendously slow even as many things are happening.

Content notes: Murder, war, references to child abuse, miscarriage, cancer.
lightreads: a partial image of a etymology tree for the Indo-European word 'leuk done in white neon on black'; in the lower left is (Default)
Hemlock & Silver

4/5. One of her standalone twisted fairy tales, this one about the poisoning expert called in to figure out if the king’s daughter is being poisoned, and the strange and horrifying magical discoveries she makes.

This is good, but it finally clarified for me what is wrong with her romances. The good stuff first: a wonderfully practical, weird, obsessive, traditionally unbeautiful heroine. A series of animal companions, talking and otherwise. A genuinely creepy place to explore. A sad fairy tale under it all.

The romance: This one is not as bad as many of her others, I will say. But I finally put my finger on what’s wrong with them. It’s that she spent the first half of this book developing this woman into a vivid, quirky, peculiar, wonderful character. And the second the romance is on page, every jot of that character work vanishes and she reverts to boring and clumsy romance beats. Like the heroine coming to the conclusion, despite vast mountains of evidence, that the guy is repulsed by her. A thing that could happen? Sure. A thing that could happen with this character? I suppose, but you’d have to lay a lot of groundwork. Fundamentally, I think her heroines, which are the best part of these books, stop being themselves when it comes to romance, and I hate that.

Content notes: Past child death, past murder of spouse, creepiness with mirrors, body horror.

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