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Yesterday on a lovely walk through then neighborhood I reached the end of The Last Hour Between Worlds by Melissa Caruso. This is fantasy/action novel, set in a world in “prime” reality, beneath which sits ever-descending “echo” layers of reality. The further down you go, the stranger and more dangerous things get. At a New Year’s party, things get unexpectedly tricky when the entire party is pulled down through the echoes.
Our protagonist is Kembral Thorne, a “hound” whose job is to retrieve people, animals, and other things that are pulled or “fall” into the echoes. This party is Kem’s first step back into society after having her first baby two months earlier.
Of course, when things start going wrong, Kem can’t help but get involved. It’s her job.
I’ll say again, I do love queer lit with adults. YA is great and I’m so happy that teens today have access to so much queer lit, but online queer book recs can skew very YA. Here, Kem is very much someone at least in her thirties—she’s got a baby, she’s reached a senior role in her career, and her concerns reflect this position in her life. While she and her quasi-rival Rika have the sort of skittish interactions you might expect from people who are into each other and unwilling to admit they are into each other, they don’t reach the level of comic avoidance or overwrought drama of teens or young adults.
I liked the ebb and flow of Kem and Rika’s relationship. These are two people who already have history and have kind of already had their big, relationship-ending squabble before we even get to this party, which is fun to unravel over the course of the evening. They have some cute moments, some artificially-amplified angst, but are generally enjoyable.
The worldbuilding here is fine. It’s serviceable for what the novel is doing, but we don’t really get a look at much else outside of the party except when Kem ventures out into the echoes, which becomes increasingly less frequent as they descend. There’s some fun stuff, some spooky stuff, some aesthetic stuff.
The book pushes a little hard on maintaining the status quo when the status quo isn’t that great (I think it could have made this more believable with more discussion, but the book is really more about the action than the political debate) and I did think one character’s fate was a cop-out, especially given the former. Violent change to the system is wrong but we’ll all shrug and smile when this criminal we couldn’t nail down conveniently dies without a trial.
On the whole, I enjoyed this one, but it’s nothing earth-shattering. I put the next book on my TBR though because I do want to see what Rika and Kem get up to next.
I don’t know how I keep timing these so that I finish my audiobook and my paper book one right after the other. This weekend I also wrapped up The Black Fantastic, an anthology compiled by Andre M. Carrington. Thank you to ![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
pauraque for bringing this one to my attention! This is a collection of “Afrofuturist” stories by Black authors. If you want more detail, Pauraque has done individual reviews of each story which you can read here; I won’t get that specific.
With the usual caveat that all anthologies vary in quality, I enjoyed this one. There were a lot of very different stories, from some really fantastical stuff to ones that are just a little bit to the left of the world as it stands. On the high end of things, pieces like A Guide to the Native Fruits of Hawai’i by Alayna Dawn Johnson, where the protagonist grapples with her decision to collaborate with a group of vampire invaders to prey on the locals (and the metaphor of vampirism for the way Hawaii is treated by wealthy Americans is not lost in the shuffle); or The Orb by Tara Campbell, which was both strange and unexplained, choosing to focus not on the “why” or “how” of the situation but again on the moral quandary of its main character.
On the lower end, ones like The Ones Who Stay and Fight by NK Jemisin, which felt…narratively unclear, to say the least. It is either a satire of the kind of utopia writers create where its status as utopia is essentially dependent on eliminating any disagreement or contact with the outside world…or it’s a whole-hearted endorsement of that view. And if I can’t tell which, I tend to think the author’s failed at their purpose; or Ruler of the Rear Guard by Maurice Broaddus, which seemed to end just as it was getting to the plot.
Overall, I had fun with this anthology. SFF short story collections, done well, are such a scintillating showcase of creativity and I felt that here.
I would say this is a solid entry in the murder mystery genre. The book alternates perspectives between the four classmates, which allows the author to do some fun things keeping the reader on the hook. One character will make a big discovery only for the POV to pop over to another who doesn't have that information, so Cobell can keep information from the reader without it feeling too forced. The audiobook has a separate narrator for each POV, which was also fun (although I didn't care for Eli's reader) and if you're prone to picking up and putting down your audiobook in the middle of a chapter, this helps you keep track of whose POV you're in.
Cobell uses the format of the crime thriller, like Marcie Rendon in Where They Last Saw Her, to draw attention to the crisis of Missing and Murdered Indigenous Women (MMIW), but the book still feels like a novel its own right; it never feels like just a tool for explaining the MMIW issue. And it's an important issue that deserves a lot more attention. The statistics on violence against Native American women are shocking--even if you think they're bad, they're probably worse than you're imagining--and specific stats get highlighted in the text and in the author's note at the end. In this way, I think the book has enormous social value. Cobell uses her characters to personalize the problem and show the comorbid impacts of poverty and drug use on the reservation.
Outside of its interest in the MMIW crisis, I don't think the book does much that's particularly groundbreaking. The teens band together to try to solve the mystery and absolve themselves, as you'd expect. At various times they suspect each other, family members, law enforcement. Cobell keeps you on the hook while offering reasonable suspicion for a number of characters. She avoids my least favorite move in the murder mystery genre, which is pinning it on some rando at the last minute.
The ending is pretty explosive and I enjoy some of the things she does with perspective here as well. We the readers know what the killer thinks of their crimes because the text tells us. But the other characters never hear that explanation except third hand, and many of them simply don't believe it. And that feels real--they end the story with their own version of the truth and there's simply no space for that to be corrected (and why would they believe the word of a killer anyway?) The killer feels a little one-dimensional, but the motives make sense, if they're unsurprising. The motivations behind most violent crimes are pretty repetitive.
The prose is fine. We're reading from the perspective of teenagers, so expect a lot of melodramatic metaphors and jumping to conclusions based on minimal evidence.
Overall, this book tells an important story. It was entertaining as a narrative and sheds light on a community that deserves a lot more attention.
This quote by Paul Eluard opens book #14 from the "Women in Translation" rec list, which continues to fatten up my TBR list. This is Empty Wardrobes by Maria Judite de Carvalho, translated from Portuguese by Margaret Jull Costa. This novella, originally published in the 1960s, is about the ways in which women are subsumed by the men in their lives, or otherwise are buffeted about with less control over their lives than they ought to have.
The forward by Kate Zambreno is a wonderfully complementary piece. She talks about the anger she feels going to a woman's funeral and hearing the dead woman sanctified by men in her life who did nothing but take from her, who can speak of her only to praise what she did for others, and can say nothing about what the woman herself was.
Sometimes you can read a book and just know the author was angry when she wrote it. This is one of those. The book uses the phrase "discreet rage" about one of its characters, and I think that sentiment succinctly describes the whole book. The protagonist, Dora Rosario, is ten years into widowhood, and she has devoted her entire life to mourning her unremarkable husband as much as she had previous devoted her life to supporting his every opinion regardless of whether or not she agreed with it. Now, a decade on, her mother-in-law reveals something about Dora's late husband that changes her entire perspective.
I would like to believe we are moving away from the world portrayed in Empty Wardrobes (though not with as much success as I'd like), but this is a stark reminder of how even a few generations ago, in the Sixties, a woman's identity was so controlled by her husband's. There are only two men in this book--Duarte, Dora's dead husband, and Ernesto, the longtime partner of a side character--and they both, through social structures, exercise incredible control over the lives of the women around them without any respect or even knowledge of their impact.
The three main women in this book--Dora, her daughter Lisa, and the narrator--each take a different approach to the male romantic partners in their lives, and none of them comes out the better for it (well, perhaps for Lisa, but I personally doubt it will last), because the ultimate problem is societal attitudes about the way men and women are meant to relate to each other.
It's not a long book, and I can't say much more without spoiling things, but I also think it does some fabulous things with its narration and perspective, and the way it doles out information. Really an excellent framing that allows for a lot of fluidity and filling in gaps with your own visions while remaining clear in the nature of the story it's telling.
This book was only translated into English in 2021, which is a shame, because I think it would have struck a nerve much earlier, but we have it now! Costa does an excellent job with the work too; the writing is full of punchy phrases like the above, and she captures some realistic dialogue--characters repeating themselves, responding in ways that don't quite match up with what was asked, etc.--while keeping it natural-sounding.
This should be (another) lesson to me in not going all-in on a creator because I've enjoyed one of their works. I loved Chambers' To Be Taught, if Fortunate, and I've heard plenty of internet praise for The Long Way, so when I saw it at the bookstore recently, I dropped $20 on it readily. If I hadn't, I probably wouldn't have bothered finishing it.
First - if you picked up this book looking for the femslash, it's barely there, and it's a lot more friends-with-benefits than romance. The other two romances in the book get a lot more attention. This isn't a complaint from me, but if what you really want is F/F romance, it's not really here.
This is a character-driven book with barely a plot, which wouldn't be a problem if the characters were interesting. As it is, they are functionally interchangeable: a crew of people who are all optimistic, friendly, emotionally open, painstakingly polite, and obsessively well-intentioned (except for the one guy who's a Jerk, who exists to be a jerk whenever the scene calls for someone who needs to be less-than-fanatically-polite or there's a chance for Chambers to squeeze in another instance of his being a jerk, even when he's technically right). There is no character growth to speak of; none of these characters changes at all between the start of the book and the end. There's no complexity to anyone.
( Read more... )
chasethestars