Author: Shay Shortt

The Cruel Prince

Cover image for The Cruel Prince by Holly Black by Holly Black

ISBN 978-0-316-31027-7

What they don’t realize is this: Yes, they frighten me, but I have always been scared, since the day I got here. I was raised by the man who murdered my parents, reared in a land of monsters. I live with that fear, let it settle into my bones, and ignore it. If I didn’t pretend not to be scared, I would hide under my owl-down coverlets in Madoc’s estate forever. I would lie there and scream until there was nothing left of me. I refuse to do that. I will not do that.”

Seventeen-year-old Jude and her twin sister, Taryn, are mortals who have lived in Faerie since they were children, raised by the Faerie general who murdered their parents in order to retrieve his daughter, their half-sister Vivi. Despite this violent beginning, Jude longs to find her place in the High Court of King Eldred, and dreams of knighthood and acceptance. However, many of the high fey will never see a mortal as anything more than a servant, to be used and discarded at will. Worst among these is Prince Cardan, youngest of the High King’s sons, who seems to have a special hatred for Jude, and the way she had been raised as if she were part of the Gentry. When the High King announces that he will abdicate his throne, and pass the Blood Crown to one of his six children, Jude is caught up in political intrigues and violent betrayals, and is quickly reminded why the Faerie Court is no place for humans.

The Cruel Prince follows three sisters trying to find their place in the world(s). Though she is the only one who has magic, Vivi longs to return to the human world where she was raised. Jude and Taryn, though they know that Faerie is designed to dazzle mortals, are nevertheless enchanted with it, and dream of finding a way to make it their place forever, rather than somewhere that they live at the grace of the man who killed their parents. Taryn hopes to make a marriage that will secure her a place at court, while Jude hopes to use her talent with a blade win a post in one of the great houses. Each in turn is faced with the question of what price they will pay in order to get what they want.

Through the character of Jude, and her development, Holly Black examines what we are capable of, and how far we will go to get what we want. Jude dreams of being a knight, and wants to declare herself a candidate for selection as such by one of the great houses during the summer tournament. But her adopted father, Madoc, a redcap with violence as his very essence, does not believe that Jude has what it takes to be a knight, despite her skill with a blade. With the obvious and honourable path closed to her, Jude accepts a different bargain, one that reveals an even darker side of the High Court, and reminds Jude why Faerie is a dangerous place for mortals, especially at a time when power is about to change hands.

Though she knows the ways of Faerie, and has been trained as a warrior by the general himself, Jude is at a constant disadvantage. She has no magic of her own, and must constantly be wary of the magic around her. She must wear rowan berries to ward off compulsion, turn her stockings inside out to avoid being led astray, and salt all her food to prevent ensorcellment. She must rely on her wits, and her merely mortal strength to face down those who would put her in her place. And Prince Cardan and his friends seem bent on demonstrating that however at home she feels in Faerie, however well she think she knows the rules, she will always be a mere mortal. It is this very weakness, and her determination not to give into it that makes Jude a compelling narrator.

The Cruel Prince is a twisty and intricately plotted fantasy that takes us deep inside the High Court of Faerie. Holy Black knows just how to hit my expectations enough to keep me satisfied, while simultaneously subverting them enough to keep me intrigued. I am already eagerly awaiting the release of The Wicked King in 2019.

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Also by Holly Black:

The Darkest Part of the Forest

The Coldest Girl in Coldtown 

The Iron Trial 

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Death in the Air

Cover image for Death in the Air by Kate Winkler Dawsonby Kate Winkler Dawson

ISBN 978-0-316-50686-1

The fuel was cheap, effective, and crucial—it was the only major source of domestic heating in the city at that time. But the smoke could be suffocating, and the sulphur dioxide released into the air was deadly. It triggered acid rain strong enough to bend iron, erode statues, poison land, and contaminate waterways—the pollution could destroy lungs and cause cancer. But still the coal burned.

On December 5, 1952, a thick fog descended on London. This was nothing unusual for the British capital in winter, but as the fog bank up to seven hundred feet thick settled over the city, and then refused to budge for five days, the event become something more than the average peasouper. Transportation ground to a halt, schools and businesses closed, and people huddled up at home in front of their coal fires. Britain was still recovering from the war, and high-quality coal was at a premium, so most people were burning dirty, inefficient “nutty slack,” or coal dust, which was cheaply available and encouraged by the government. As the fires burned, and more and more air pollution was trapped in the fog, Londoners began to wheeze, and then they began to die by the hundreds. By the time the fog lifted, more than four thousand would be dead. But in the months that followed the tragedy, as the official opposition pushed for an inquiry in Parliament, the headlines were grabbed instead by the lurid details of a serial killer that had been living among them. Four bodies had been found in the abandoned apartment of one John Reginald Christie of 10 Rillington Place in Notting Hill, and two more women were buried in the garden. So while Londoners cried out for justice for the murders of the six women, they were missing the fact that as many as twelve thousand of their fellow citizens had died during or after the Great Smog.

Fog is an indelible feature of British life, much tied up in the very image of London, as evidenced by the epigraphs Dawson includes at the beginning of each chapter. From Robert Louis Stevenson to T.S. Eliot, and Arthur Conan Doyle to Charles Dickens, famous writers described and referenced London’s fogs, and were even charmed by them. The French impressionist painter Claude Monet said that London would not be a beautiful city without them. But romanticized as the image has been, smoky fog made London dirty and dangerous, and the government contributed to the problem. By selling the best coal overseas to help rebuild the post-war economy, and encouraging Londoners to burn dirty nutty slack, the problem was worsened. Nor did the city’s new diesel buses, forty coal-fired power plants, or 200 steam powered locomotives help the situation. Transportation continued to try to run throughout the event, with limited success, and there was no warning system in place to tell vulnerable people to stay indoors, or discourage people from operating cars, or otherwise contributing to the disaster. Dawson clearly sketches out the tragedy, and the many ways in which the government contributed to it, and then tried to deny and cover it up. The press meanwhile, was too distracted by crime stories to pay much attention.

Death in the Air has been compared to The Devil in the White City by Erik Larson, and certainly the structure is similar. But it was quite different in one important respect; the fog has little or nothing to do with the murders, while the Chicago World’s Fair was actively used as a hunting ground and cover for the murders committed there. Christie had killed two women and buried them in his garden long before the Great Smog, and none of his victims were killed during the event. The author speculates that being cooped up for his wife for days during the fog might have nudged Christie towards killing her in mid-December 1952, but this is about the extent of the connection between the two events, as well as the fact that both left strangled victims behind. Rather, Dawson seems to be drawing on the fact that while the serial killer is still (in)famous, the Great Smog, though it killed many more people, is much less remembered, despite eventually ushering in some of the first clean air regulations.

Nevertheless, Dawson balances well between the Great Smog and its aftermath, and the murders and the subsequent trial. I was engaged by both stories, though they didn’t quite gel, continuing to move along on parallel tracks. Dawson also employs some secondary characters, including a policeman who patrolled during the smog, and a young girl whose father died during the event, forever altering the lives of her family. I particularly wanted to hear more from Rosemary Sargent about her experiences and recollections, and felt that Dawson could have used her to better effect. The tremendous number of deaths tells one part of the tale, but Rosemary helps to personalize the fall out of such an event.

Death in the Air is a story with plenty of contemporary relevance. As Dawson points out, four thousand people now die from the effects of smog every day in China. This little remembered English tragedy is being repeated on a daily basis in the fastest growing industrial nation in the world, with no sign of slowing. And the vagaries of the Christie case, including his bizarre confession to having been responsible for two murders a neighbour was convicted of, and executed for, several years earlier, raise the spectre of injustice, and the finality of the death penalty in the face of fallible human judgement. In short, while the two stories do not work perfectly together, I was fascinated by this book nevertheless.

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You might also like Tinseltown by William J. Mann

Beneath the Sugar Sky (Wayward Children #3)

Cover image for Beneath the Sugar Sky by Seanan McGuireby Seanan McGuire

ISBN 978-0-7653-9358-6

“For others, the lure of a world where they fit is too great to escape, and they will spend the rest of their lives rattling at windows and peering at locks, trying to find the way home. Trying to find the one perfect door that can take them there, despite everything, despite the unlikeliness of it all.”

When Rini lands in the duck pond behind Eleanor West’s Home for Wayward Children, she is looking for her mother, Sumi. But Sumi was murdered three years earlier, and never found the door back to her Nonsense world to defeat the Queen of Cakes, marry her candy corn farmer, and live happily ever after with their daughter. Rini shouldn’t even exist, and now reality is beginning to catch up with her as she starts to fade away. Quests are strictly forbidden at the school, but can Sumi’s friends really allow her daughter to have never been born?

Beneath the Sugar Sky marks the third installment in Seanan McGuire’s Wayward Children series. The books do not need to be read strictly in order, but the author recommends reading Every Heart a Doorway before this volume. Down Among the Sticks and Bones, being a prequel, can really be read before or after the first book. But since the plot of this novel hinges on a murder that took place in book one, and continues with some characters from that volume, beginning there is suggested.

While Every Heart a Doorway was about the aftermath of returning from a portal world, Beneath the Sugar Sky is a true portal fantasy that involves examining what happens to the worlds the children leave behind when they are pulled back to Earth. When Sumi ceases to exist, the Queen of Cakes is never defeated, and her prophecy goes unfulfilled. This third installment allows us to visit not one but two of the portal realms described in the first book, including Nancy’s Halls of the Dead, and Sumi’s Nonsense world, Confection. The latter is particularly interesting since most of the protagonists themselves visited Logical worlds, and struggle with the rules of a Nonsense realm like Confection.

The adventurers are Kade and Christopher, who will be familiar from Every Heart a Doorway, and Nadya and Cora, who are both girls who visited water worlds. Together, they set out with Rini for the Halls of the Dead, to find out where Sumi’s spirit went when she was murdered, and if there is any way to return her to her world so that Rini will still be born. The central perspective belongs to Cora, who was a mermaid in the world she visited, a world where the size of her body made her a strong swimmer, protected from the cold water, and not the object of mockery from her school mates. Body image forms a central issue for this volume.

In reading this installment of the Wayward Children, I was unexpectedly captured by Confection, though I’m more inherently curious about darker worlds like The Moors, and the Halls of the Dead. But the idea of a somewhat internally consistent Nonsense world was really good fun, and McGuire used it to great advantage. For example, no matter how far apart they are, nowhere in Confection is more than a day’s journey from anywhere else, and McGuire is able to use this to keep the novella-length plot tight. Her prose is as beautiful as ever, and I just let myself roll with the absurdity of the adventure, including a visit to the Oven, the heart of Confection. This universe has developed nicely throughout the series, and while this was the last guaranteed volume, I am hopeful that we might yet be able to look forward to more adventures.

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You might also like The Ocean at the End of the Lane by Neil Gaiman

The Radium Girls

Cover image for The Radium Girls by Kate Moore by Kate Moore

ISBN 9781492649359

With war raging in Europe, the demand for luminous watch dials and airplane instruments panels was voracious when Katherine Schaub began work the United States Radium Company’s dial painting studio in Orange, New Jersey in February 1917 at the age of fourteen. And when the United States joined the war only a few months later, demand exploded even further. Schaub would be only one of hundreds of young women who applied the patented luminous paint to the watch faces, dipping her brush into the radioactive material, and using her lips to point the brush for the finely detailed work of applying the paint to the numbers. She and her fellow dial painters had no idea that the miraculous element that caused them all to glow in the dark as they left work each night was slowly burrowing into their bones, with health consequences that would not be felt for years, long after many of the women had left dial painting behind. In The Radium Girls, Kate Moore chronicles the medical mystery that perplexed doctors and dentists for years, and the uphill legal battle that the women faced as they raced against their decaying bodies for acknowledgement of what their employers had done to them.

The problems began with their teeth. Terrible toothaches, and bleeding gums. Most dentists had never seen anything like it, and the ones that had thought their patients must be suffering phosphorous poisoning. But when the decaying teeth were pulled, the wounds they left behind did not heal, and the pain only grew worse. And that was just the beginning. One surprised dentist went to extract a dial painter’s tooth, and came away instead with a piece of her jawbone. Another accidentally broke a patient’s jaw simply by touching it. Moore chronicles all this in brutal detail, not sparing the reader the horrifying specifics of the terrible pain these women suffered in life, and the still more horrifying ways they finally met their ends. One of the earliest deaths Moore depicts is that of an Orange dial painter who drowned in her own blood after the radium ate away at her face and throat until her carotid artery gave way. Making the reality clear could not be described as gratuitous, but nor is this a book for the squeamish or faint of heart.

The Radium Girls features a very large cast of characters spread out between two different factories. The book opens in Orange, New Jersey, and then moves back and forth between Orange and Ottawa, Illinois. Moore has the unenviable struggle of trying to concisely portray a situation that was geographically distributed, and strung out over many years, as the companies involved concealed and denied their culpability for the women’s illnesses. The vast cast makes it difficult to get to know many of the women well. Grace Fryer and Katherine Schaub stand out in New Jersey, while Catherine Wolfe Donohue makes a strong impression from among the Illinois women. Fryer and Donohue were the backbones of the coalitions of former workers who sued their employers, while Schaub is notable for leaving behind extensive writings about her life and experiences. Many others are less documented, but suffered no less than their better remembered peers. The very nature of the tragedy Moore is trying to document is that many of these women did not live long enough to speak for themselves.

The narrative of The Radium Girls stretches over the more than twenty years it would take for the women to win any meaningful legal victory over their former employers. It is not a medical or legal or labour rights text, unlike the academic chronicles that have gone before, and on which Moore drew extensively, but all of these elements are present, and well explained for the general reader. Rather, Moore takes a more personal approach, focusing on the experiences of the women as far as they can be reconstructed. Moore is far from a dispassionate chronicler; she has a rage that is nearly incandescent as she cries out against the injustices these women suffered. She calls for their sacrifice to be given meaning, and for their suffering to be remembered, though they are gone. It is a fitting tribute, but one that can hardly make up for everything the women suffered.

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You might also like The Girls of Atomic City by Denise Kiernan

Wild Beauty

Cover image for Wild Beauty by Anna-Marie McLemore by Anna-Marie McLemore

ISBN 978-1-250-12455-5

For a hundred years, La Pradera has bloomed under the hands of the Nomeolvides women, five in every generation, whose magic brings to life what was once a barren landscape unfit for farming. But the Nomeolvides women are cursed; any man that they love too much, who stays too long, will disappear into La Pradera, never to be seen again. They have lived with this pain for generations, defined and shaped by it. So when Estrella and her four cousins make an offering to the land, and a boy appears, a boy who seems to be out of his time, a whisper of hope goes through the family. Fel has no memory of how he came to La Pradera, but what if he was the disappeared lover of a long ago Nomeolvide woman? But even as the women begin to hope that their lost loves may not be lost forever, the arrival of a new member of the family that owns the land they are bound to threatens everything they have built.

La Pradera is a vivid setting, a place of magic and tragedy. The Nomeolvides women have worked the land there for a hundred years, but beautiful as they have made it, they can never leave it, or La Pradera will take its revenge. But though they are bound to this land, they do not own it. It belongs to the Briar family, a wealthy clan that hides their rejects and failures on this distant estate. When Marjorie Briar dies, Reid Briar waltzes into town, fully expecting to seize control of the estate from Bay, the illegitimate daughter of a Briar, who was raised by Marjorie, and named her heir. The power imbalance between the Briars and the people who have worked their land forms an important part of the story.

Despite the curse, romance is woven through Wild Beauty. All five of the Nomeolvides girls are a little bit in love with dashing Bay Briar, nominal heir to La Pradera. They do not know if a woman can be disappeared by their love, but they are all afraid to find out, and so they keep their affection for her at a distance. When Fel appears, he and Estrella are repeatedly drawn to one another despite her mother’s warnings. Though the land gave him back, they all worry that he could disappear again. And what if he really was once the lover of a dead woman he can’t remember? In the course of the story, both Bay and Fel must emerge as their own people before questions about who can love them will be answered.

In addition to being a romance, Wild Beauty has a strong theme of family, especially the relationship between Estrella and her cousins. The older generations of women are more distant and less well known. Estrella and her cousins are pushing themselves away from their mothers and grandmothers, as much as they can when they are all bound to the same land, unable to leave it for very long. They hope to somehow avoid the fate of their ancestors, as every new generation hopes, and that drives a wedge between them and their mothers, aunts, and grandmothers. The older women try to keep the peace and protect their daughters, but Estrella seems determined to stand up to Reid, whatever the cost.

In this, her third novel, Anna-Marie McLemore returns with her lush, polished prose and fine touch for magic realism. Although slower paced, her novels always deliver for atmosphere, character, and emotional impact, and Wild Beauty is no different.

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Also by Anna-Marie McLemore

The Weight of Feathers

When the Moon Was Ours 

Top 5 Non-Fiction Reads of 2017

These are my favourite non-fiction titles read or reviewed (not necessarily published) in 2017. Click the title for a link to the full review where applicable. See the previous post for my top five fiction reads of the year.

Born a Crime

ISBN 978-0-385-68922-9

Cover image for Born a Crime by Trevor NoahWhen Trevor Noah was born in South Africa in 1984, his existence was literally illegal, proof that his black, Xhosa mother and his white, Swiss-German father had violated the Immorality Act of 1927, one of the many laws defining the system known as apartheid. Noah is observant, and able to clearly convey the absurdity of the system he was born under while also explaining its function for a North American audience that is probably not terribly familiar with the ins and outs of apartheid. In addition to an interesting life, Noah also has a good sense of pacing and narrative style that make his recollections particularly illuminating. Noah is known as a comedian, successor to Jon Stewart as host of The Daily Show, but while there is an understated humour present in Born a Crime, for the most part it is memoir, not comedy. The humour comes mostly in the form of sly comments, though some of the stories are indeed laugh out loud funny. I actually read this book twice this year, once in print, and again as an audiobook, and would highly recommend it in either form.

Categories: Memoir, Humour

March: Book Two

ISBN 978-1-60309-400-9

Cover image for March: Book Two by John Lewis and Andrew AydinThis is a shout out to the entire March Trilogy, written by Congressman John Lewis with former congressional aid Andrew Aydin, and art by Nate Powell. The trilogy captures Lewis’ experiences as a civil rights leader and organizer, before going on to represent Georgia’s fifth congressional district for more than thirty years. In March: Book Two, Lewis and Aydin really master the structure of the frame narrative, which was a little stilted in the first volume. Lewis’ recollections of his time as an activist are framed by memories of Inauguration Day 2009, an especially striking juxtaposition with the violence that met peaceful civil rights protests. Book Two powerfully covers key events in the movement’s history, such as the lunch counter protests, the Freedom Rides, and the March on Washington.

Categories: Memoir, History, Graphic Novel

Here We Are: Feminism for the Real World

ISBN 978-1-61620-586-7

Cover image for Here We Are, Edited by Kelly JensenFeminism is a concept that has been loaded down with a lot of cultural baggage. In this collection of essays, poems, comics, and lists, editor Kelly Jensen has pulled together a selection of pieces for a teen audience that aim to clarify misconceptions, share experiences, and reinforce empathy for a variety of journeys and perspectives. Here We Are contains enough broad variety that no doubt different pieces will speak to different readers. It is reaffirming to read about people who share your experiences, and enlightening to read about different ones. Interspersed with the longer essays are short, fun pieces, such as feminist music playlists, poems, and comics. There were only a few things I thought were notably absent, such as a piece about affirmative consent to complement the discussion of rape culture. The chapter on romance and sexuality could also have used an essay about asexuality and aromanticism. Overall, however, I was pleased with the diversity of this introduction to feminism, and would heartily recommend it.

Categories: Young Adult, Essays

A Mother’s Reckoning

ISBN 978-1-10190-276-9

Cover image for A Mother's Reckoning by Sue KleboldIt is with caution that I include on this list a book that has stuck with me, perhaps even haunted me, since I read it this fall. Sue Klebold’s memoir is an intimate and gut-wrenching look inside the home of an ordinary little boy who grew up to be a high school mass murderer. When her son committed suicide in the school library following the rampage, she was left with more questions than answers, and a difficult public reckoning that continues to flare up to this day. Klebold does her best to recount the events in a way that is compatible with existing guidelines for responsible reporting on such tragedies in order to prevent imitation, something which she sharply calls out the media for failing to do in their treatment of the events at Columbine High School. It is a harrowing read because it shows people who commit terrible acts of evil as human, leaving aside the question of whether those who do monstrous things need to be humanized. I can’t imagine how upsetting this account might be for anyone who lost loved ones at Columbine, and it is for this reason that place a caveat on my recommendation of this title. Nevertheless, I can’t stop thinking about this book.

Categories: Memoir

How to Survive a Plague

ISBN 978-0-30770-063-6

Cover image for How to Survive a Plague by David FranceThis history is an insider’s look at the activists who advocated for AIDS treatments and victim’s rights in the early days of the epidemic. France’s account centers on New York, and the founding of such organizations as ACT UP and the Treatment Action Group, as well as the safe sex movement. France truly makes the reader feel the uncertainty and fear of the early days of the AIDS epidemic, when even the cause of the disease was a mystery. How to Survive a Plague also delves into the bureaucracy and homophobia that delayed the development of effective AIDS treatments by researchers and public health officials. Desperation led to thriving experimental drug undergrounds without proper oversight or data collection. Especially if you were born after AIDS went from being a death sentence to a manageable health condition, this is an essential and illuminating read about a key aspect of LGBTQ+ history.

Categories: History, LGBTQ+

And that’s it for 2017. See you all  on the other side.

Top 5 Fiction Reads of 2017

These are my favourite fiction books read or reviewed (but not necessarily published) in 2017. Click the titles for links to full reviews where applicable. Check back later for my top five non-fiction picks of the year.

The Break

ISBN 978-1-4870-011-7

Cover image for The Break by Katherena VermetteI first read Katherena Vermette’s novel earlier this year as part of Canada Reads Along 2017. The Break is the heart-wrenching story of a community that has been repeatedly torn apart by violence, as Winnipeg’s indigenous population struggles with the lingering effects of colonization. Through the skillful use of multiple narrative perspectives, Vermette illustrates how trauma accumulates and cascades down through the generations, becoming compounded as those who have been hurt try to raise the next generation of children. When a young indigenous woman is attacked on Winnipeg’s troubled North side, her family gathers around her hospital bed. Four generations of women close ranks, belatedly trying to protect their victimized relative. However, as they struggle to understand what has happened, the spectres of their own traumatic pasts begin to rise, demanding to be acknowledged at last. US readers, this book is coming your way March 6, 2018 from House of Anansi Press.

Categories: Canadian

The Hate U Give

Cover image for The Hate U Give by Angie ThomasThe Hate U Give is a brutal coming-of-age story about the harsh realities that face young black men and women in America. Starr Carter is a girl with a foot in two worlds. By day, she attends Williamson, a suburban prep school where she is one of only two black students in her year. In the evening, she goes home to Garden Heights, the city’s poor, black neighbourhood, where she has lived all her life. She is one person at home and another person at school, because she can’t be too “bougie” in the neighbourhood, or too “ghetto” at school. But the wall she has carefully built between her two selves begins to crumble when she is the only witness to a police officer shooting and killing her childhood friend, Khalil. Thomas’ debut novel is fundamentally about identity, and Starr’s struggle to bring the two halves of herself together. But it is also about families, communities, and building relationships. The strength of this narrative is in the way it balances the hard topics—racism, police violence, gangs, drugs—with themes of family, friendship, justice, and love.

Categories: Young Adult

Neverwhere

ISBN 978-0-06-282133-1

Cover image for Neverwhere by Neil Gaiman and Illustrated by Chris RiddellI’ve owned a copy of this novel for some time without getting around to reading it, but this fall the kind folks at HarperCollins sent me a copy of a new edition illustrated by frequent Gaiman collaborator Chris Riddell (see also The Sleeper and the Spindle). The new edition contains the author’s lightly edited preferred text, and is newly illustrated for the book’s twentieth anniversary. It also appends the short story “How the Marquis Got His Coat Back.”  Richard Mayhew is an entirely ordinary London businessman, whose spur of the moment decision to help a young girl in need causes him to slide through the cracks of reality, and into the dark realm of London-Below. But to be honest, Richard Mayhew is the least interesting or memorable part of Neverwhere. He is merely the reader’s access point to a uniquely atmospheric world just sideways from our own. Door is the last scion on a Neverwhere family endowed with unique abilities, and some of the residents of London’s underworld will stop at nothing to catch her and take advantage of her powers. Full of memorable villains, and unusual allies, I can’t believe I waited this long to read Gaiman’s earliest solo novel, but Riddell’s illustrations made it well worth the wait!

Categories: Fantasy

The Jane Austen Project

Cover image for The Jane Austen Project by Kathleen A. Flynn When Rachel Katzman and Liam Finucane arrive in England in 1815, it is by unusual means, and with an even more unusual mission. Sent back in time from a somewhat dystopian near-future, they are charged with identifying the cause of Jane Austen’s untimely demise in 1817 at the young age of 41, and with recovering and bringing back her lost manuscript of The Watsons, as well as her letters to her sister Cassandra. This top-secret mission is known as The Jane Austen Project, and it has one very important rule; they must change the future as little as possible while achieving their objectives, or risk being stranded in Regency England forever. With this highly unusual premise, copy editor and ardent Austenite Kathleen A. Flynn has captured something of Austen’s tone and pacing, without trying to entirely mimic her style. The suspense of the narrative caught me by surprise, and I found myself barely able to put this novel down. This was in spite of the fact that there is a fair bit of set up involved in getting two people believably situated upper-class residents of 1815 London, and then into Austen’s family circle. Rachel is in the unenviable position of flirting with Henry Austen, while also getting to know her partner Liam, who is—awkwardly—posing as her brother for the purposes of the trip. Highly recommended for fans of time travel fiction that is more about the destination than the science of such an endeavour.

Categories: Science Fiction

City of Brass

Cover image for City of Brass by S. A. ChakrabortyDespite her abilities as healer, plying her con on the streets of French-occupied Cairo, Nahri has never really believed in magic. But when she stages an exorcism for a disturbed child, she accidentally summons a djinn who claims that she is that last descendant of the Nahids, the former rulers of the hidden djinn city of Daevabad. With murderous ifrits close on their heels, Dara vows to return Nahri to the home of her ancestors. But far from offering safety, Daevabad is a nest of politics that put the streets of Cairo to shame. While Nahri is a canny operator, she is naïve to the rules and traditions of her ancestors. The stand out feature of this novel is the complex dynamic S.A. Chakraborty has created between the different magical beings of this world, and even within the ranks and classes of the djinn themselves. In particular, the shafit—part human djinn—are an underclass poised on the edge of revolt. City of Brass was an utterly gripping novel from start to finish, but the last few pages introduced several plot twists that have me waiting with great impatience for The Kingdom of Copper to be released in 2018. Thanks to the fine folks at Harper Voyager, who provided me with an advance copy of this novel!

Categories: Fantasy

Honourable mentions also go out to Leigh Bardugo and Gail Carriger, as I finished reading series of theirs that I started last year. I utterly enjoyed both Crooked Kingdom, and The Parasol Protectorate, but as I’ve named books from those worlds to my top five in previous years, I decided to present a more varied list for those looking for my Top Picks. That’s it for fiction for 2017. Check back later for my non-fiction list!

Do Not Say We Have Nothing

Cover image for Do Not Say We Have Nothing by Madeleine Thienby Madeleine Thien

ISBN 9780345810427

“It was very modern and deeply Western to listen to music that no one else could hear. Private music led to private thoughts. Private thoughts led to private desires, to private fulfillments or private hungers, to a whole private universe away from parents, family and society.”

In the midst of China’s Cultural Revolution, Sparrow, Kai, and Zhuli enjoy a relatively sheltered existence at the Shanghai Conservatory of Music, where Sparrow is permitted to teach, and his niece Zhuli is permitted to study, despite the fact that Zhuli’s parents have been designated “class enemies.” But soon the forces growing against Westernization and bourgeois occupations like musicianship will overrun the Conservatory as well. In the present day, Marie travels from Vancouver to Hong Kong to try to uncover the details of her father’s mysterious suicide there two decades earlier, and to perhaps find out what has become of Ai-Ming, the Chinese student she and her mother took in during the aftermath of the Tiananmen Square student protests. The two timelines spiral together, uncovering family secrets, and decades of contested Chinese revolutionary history.

Although Madeline Thien’s novel follows two timelines, one bears significantly more weight than the other. The past reverberates into the present, and echoes there, but the present otherwise feels much less significant to Thien’s story than the past. Marie’s first person sections feel rougher and more abrupt, less fluid and polished, less immersive than the third person narrative of the past. She seems more important as a witness to history than as a protagonist in her own right. Her mother, Kai’s wife, has no name of her own, and no backstory. The heart of the tale rests with Sparrow, and Kai, and the results of their choices, their actions, and their failures to act. What will they do to survive the revolution, and what sacrifices will they make in its name?

The novel asks many questions, among them, how does one communicate authentically when everyone is regurgitating slogans and reciting platitudes to protect themselves and their families? In Canada, Marie’s mother cannot even read a letter she receives from China without a dictionary, because she does not know the simplified written Chinese mandated by the state. Do Not Say We Have Nothing offers many alternate forms of communication, from music, to mathematics, to encoded stories, and secret records not written by the victors. However, the Chinese speakers in my book club noted that Thien’s grasp of Chinese was rudimentary, and her use of it often incorrect. The alternate forms of communication become acts of resistance, such as the copying and distribution of illicit literature, or transcribing Western music into jianpu notation to make it more accessible to a Chinese audience. Music itself becomes a loaded form of expression, because it is open to interpretation. The same piece of music can be seen as a revolutionary anthem, or a ballad for those lost in the fighting. In this way, Thien’s fictional composer Sparrow echoes the real Russian composer Dmitri Shostakovich, who was repeatedly denounced and then redeemed during various waves of the Russian revolution. Several such pieces of music are referenced repeatedly, and Glenn Gould’s performances of Bach’s Goldberg Variations become the soundtrack of the story, which circles back on itself in the same way. History repeats, varies, but never fundamentally changes.

The question of how history is recorded and remembered is also fundamental to Do Not Say We Have Nothing. The Book of Records, passed down through generations and families from one steward to the next, both predates and reflects the reality that Marie is slowly uncovering as she delves into her father’s past. The protagonists of The Book of Records find themselves exiled and wandering in the desert, a fate that will eventually befall Zhuli’s parents, Swirl and Wen the Dreamer. Meanwhile, the heroine, May Fourth, takes her name from the early twentieth century movement in China that opposed Japanese encroachment into Chinese territory, a part of history almost forgotten by the characters, and largely unmentioned in the story, but which lives on in the copied and recopied page of the book.

Do Not Say We Have Nothing is slowly paced, and the level of interest was inconsistent between sections. I was also disappointed to learn that neither Thien nor her publisher took the time to ensure that her use of Chinese was correct. However the novel is an interesting portrait of how different characters react to the curtailment of free speech and creative expression under a repressive regime, and asks interesting questions about how we record and remember history.