THE SNOW QUEEN – Joan D. Vinge and the colonialist narrative

The imperious Winter colonists have ruled the planet Tiamat for 150 years, deriving wealth from the slaughter of the sea mers. But soon the galactic stargate will close, isolating Tiamat, and the 150-year reign of the Summer primitives will begin. All is not lost if Arienrhod, the ageless, corrupt Snow Queen, can destroy destiny with an act of genocide. Arienrhod is not without competition as Moon, a young Summer-tribe sibyl, and the nemesis of the Snow Queen, battles to break a conspiracy that spans space.

This is a childhood favorite. Unfortunately, though for the most part it does hold up fairly well–and has been noted for its gorgeous cover art–rereading it again years later does bring to light some… problems.

But it still remains one of my favorite things, a book I know so well that I can review it from memory.

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EARTH LOGIC – Laurie Marks

Shaftal has a ruler again, a woman with enough power to heal the war-torn land and expel the invading Sainnites from Shaftal. Or it would have a ruler if the earth witch Karis G’deon consented to rule. Instead, she lives in obscurity with the fractious family of elemental talents who gathered around her in Fire Logic. She is waiting for some sign, but no one, least of all Karis herself, knows what it is.

Then the Sainnite garrison at Watford is attacked by a troop of zealots claiming to speak for the Lost G’deon, and a mysterious and deadly plague attacks the land, killing both Sainnites and Shaftali. Karis must act or watch her beloved country fall into famine and chaos. And when Karis acts, the very stones of the earth sit up and take notice.

Let me tell you the ways in which these books are awesome:

  1. They are homonormative.
  2. They are egalitarian.
  3. They do not automatically make women’s bodies sexual objects.
  4. They alerted me to the idea that a very large, very muscular woman can be searing hot.

I now want a woman I have to climb like a tree just to kiss. Oh my god. I’m not even tall, that should be doable.

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Helen Oyeyemi’s MR FOX, dead women, and stories

Celebrated writer Mr. Fox can’t stop himself from killing off the heroines of his novels, and neither can his wife, Daphne. It’s not until Mary, his muse, comes to life and transforms him from author into subject that his story begins to unfold differently.

Mary challenges Mr. Fox to join her in stories of their own devising; and in different times and places, the two of them seek each other, find each other, thwart each other, and try to stay together, even when the roles they inhabit seem to forbid it. Their adventures twist the fairy tale into nine variations, exploding and teasing conventions of genre and romance, and each iteration explores the fears that come with accepting a lifelong bond. Meanwhile, Daphne becomes convinced that her husband is having an affair, and finds her way into Mary and Mr. Fox’s game. And so Mr. Fox is offered a choice: Will it be a life with the girl of his dreams, or a life with an all-too-real woman who delights him more than he cares to admit?

The extraordinarily gifted Helen Oyeyemi has written a love story like no other. Mr. Fox is a magical book, endlessly inventive, as witty and charming as it is profound in its truths about how we learn to be with one another.

The idea of a lovely woman muse coming to life and getting between a writer and his real-life wife is not precisely a startlingly new one. I’m sure there must be a Stephen King book like that somewhere. Not that I’m berating Mr Fox for being derivative; it isn’t, though it builds on and subverts familiar themes. Whereas most narratives about a dude writer being tortured by the beautiful muse and the wife are about him–the man–Helen Oyeyemi’s most excellent novel posits women’s perspective as the center of gravity around which other elements of story must orbit.

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Ekaterina Sedia’s HEART OF IRON – feminist Russian steampunk

In a Russia where the Decembrists’ rebellion was successful and the Trans-Siberian railroad was completed before 1854, Sasha Trubetskaya wants nothing more than to have a decent debut ball in St. Petersburg. But her aunt’s feud with the emperor lands Sasha at university, where she becomes one of its first female students – an experiment, she suspects, designed more to prove female unsuitability for such pursuits than offer them education. The pressure intensifies when Sasha’s only friends – Chinese students – start disappearing, and she begins to realize that her new British companion, Jack, has bigger secrets than she can imagine! Sasha and Jack find themselves trying to stop a war brewing between the three empires. The only place they can turn to for help is the Heavenly Kingdom of Great Peace, newly founded by the Taiping rebels. Pursued by the terrifying Dame Florence Nightingale of the British Secret Service, Sasha and Jack escape across Siberia via train to China. Sasha discovers that Jack is not quite the person she thought he was…but then again, neither is she.

This is a book that wears its feminism on its sleeve, loud and proud. It waves its feminist flag. It goes “I’m feminist, and I’m not sorry.”

To say that that’s wonderfully refreshing would be an understatement of galactic proportions.

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Angela Carter’s THE BLOODY CHAMBER

From familiar fairy tales and legends – Red Riding Hood, Bluebeard, Puss-in-Boots, Beauty and the Beast, vampires, werewolves – Angela Carter has created an absorbing collection of dark, sensual, fantastic stories.

I first read this book a long time ago, but couldn’t fully appreciate it then; rereading it now older and with a more grown-up perspective, the book has only gained in resonance. And more than ever before I now understand just how thoroughly wonderful and excellent Angela Carter’s language is.

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Ursula le Guin’s THE BIRTHDAY OF THE WORLD

Here are stories that explore complex social interactions and troublesome issues of gender and sex; that define and defy notions of personal relationships and of society itself; that examine loyalty, survival, and introversion; that bring to light the vicissitudes of slavery and the meaning of transformation, religion, and history.
The first six tales in this spectacular volume are set in the author’s signature world of the Ekumen, “my pseudo-coherent universe with holes in the elbows,” as Le Guin describes it — a world made familiar in her award-winning novel The Left Hand of Darkness. The seventh, title story was hailed by Publishers Weekly as “remarkable . . . a standout.” The final offering in the collection, Paradises Lost, is a mesmerizing novella of space exploration and the pursuit of happiness.

The Birthday of the World is a collection of (mostly) Ekumen stories, the great majority of which dealing with gender and culture. “Coming of Age in Karhide” takes place on the same planet as Left Hand, among the people who are androgynes most of the time and who turn male or female during their mating cycle, leading to a brief period of high libido. This is the weakest story, I feel, of them all. It’s a coming-of-age (well duh) story, but it lacks context, so to speak, and may not be very meaningful to people who have never read Left Hand. It doesn’t begin and end; it starts and then stops. There’s not much of a story here, or much of a character, merely an idea sketch: what it’d be like for a young Gethenian to come into kemmer for the first time and awaken to its sexuality. Notably, unlike in Left Hand where all Gethenians are referred to by male pronouns as the default, here they are referred to by both “she” and “he” with a slant toward female; the protagonist refers to his/her parent as a mother.
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SAIUNKOKU MONOGATARI: Juuni Kokki’s politician harem-mistress little sister

Saiunkoku Monogatari is a light novel series adapted to TV and manga. As you may have deduced from the picture which is heavy on the sausage and really light on the girl side, it’s what anime fans would call “reverse harem”: a title in which there are lots of pretty men surrounding a single woman, often attracted to or at least very sweet toward her. Example is the better-known (but infinitely inferior, and vastly more problematic) Fushigi Yuugi–there’s even some surface resemblance between the art style, as both take places in settings based on ancient China.

However, what Saiunkoku Monogatari has in common with is really Juuni Kokki. At first this doesn’t seem too likely–you would be hard-pressed to find an anime more aromantic than Juuni Kokki, and though it has its share of pretty men there are also a great deal of girls, and none with much attraction toward or sexual interest in the men. But.

Whereas Fushigi Yuugi is, to be charitable about it, a gender-essentialist shitfest with rapeyness on top, Saiunkoku Monogatari is all about how a girl gets by in a world full of, about, and far more favorable toward men. To extrapolate, somewhat at a stretch, the egalitarian world of Juuni Kokki where women can be officials, generals and reigning monarchs is what the world of Saiunkoku is slowly heading toward–Youko’s world and court are the ideals to which Kou Shuurei, protagonist of Saiunkoku, aspires to realize. She would love it there in the Twelve Kingdoms.

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Catherynne Valente’s HABITATION OF THE BLESSED

This is the story of a place that never was: the kingdom of Prester John, the utopia described by an anonymous, twelfth-century document which captured the imagination of the medieval world and drove hundreds of lost souls to seek out its secrets, inspiring explorers, missionaries, and kings for centuries. But what if it were all true? What if there was such a place, and a poor, broken priest once stumbled past its borders, discovering, not a Christian paradise, but a country where everything is possible, immortality is easily had, and the Western world is nothing but a dim and distant dream?

Brother Hiob of Luzerne, on missionary work in the Himalayan wilderness on the eve of the eighteenth century, discovers a village guarding a miraculous tree whose branches sprout books instead of fruit. These strange books chronicle the history of the kingdom of Prester John, and Hiob becomes obsessed with the tales they tell. The Habitation of the Blessed recounts the fragmented narratives found within these living volumes, revealing the life of a priest named John, and his rise to power in this country of impossible richness. John’s tale weaves together with the confessions of his wife Hagia, a blemmye–a headless creature who carried her face on her chest–as well as the tender, jeweled nursery stories of Imtithal, nanny to the royal family. Hugo and World Fantasy award nominee Catherynne M. Valente reimagines the legends of Prester John in this stunning tour de force.

This is a difficult book to review. It’s The Orphan’s Tales all over again, a reminder of just why I fell in love with Valente’s writing. Not necessarily because I haven’t liked her other works, but Habitation of the Blessed has much more in common with The Orphan’s Tales duology than anything else she’s written–it keeps you reading not simply to find out what happens but to find out what a boundless, fresh imagination will present you with next: something lovely, something surprising, because Valente has what so many author lack, which is the ability to invoke the sense of wonder.

I made the conscious decision to read this slowly. Good, rare things need to be rationed out. Even then I went through it much faster than I meant to. It’s that absorbing, that demanding.
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SKIN FOLK: Nalo Hopkinson’s collection of wonders SF, F, and fairytale-esque

A new collection of short stories from Hopkinson, including “Greedy Choke Puppy,” which Africana.com called “a cleverly crafted West Indian story featuring the appearance of both the soucouyant (vampire) & lagahoo (werewolf),”"Ganger (Ball Lightning),” praised by the Washington Post Book World as written in “prose [that] is vivid & immediate,” this collection reveals Hopkinson’s breadth & accomplishments as a storyteller.

This has quite a lovely cover.

Skin Folk is, like most short story collections, somewhat hit-or-miss–but it’s Nalo Hopkinson, so the ratio of hit to miss is firmly skewed to the former, and when a story hits it can hit hard. Beware: I’m going to wax rhapsodic about this book.

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