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This smart, surreal satire about Asian Americans in academia both delighted and impressed me, even if I thought the tone was a bit uneven. Down is an Australian writer, and I picked up this collection of short stories because I spotted Julia Armfield recommending it. Unfortunately, it did not work for me at all. I actually liked the title story, which appears first in the collection; I thought it was subtle and clever.
Then all the rest blurred into one. Lara Vergnaud. Painfully clunky prose — I assume a combination of bad writing and bad translation — plus painfully obvious social commentary. Complicit is in a very different category. It brings nothing new to the table, and also makes some missteps.
A disappointing second novel. However, when he manages to get off his bandwagon, he has lots of interesting things to say. I especially enjoyed the chapters on motorways, multistorey car parks, and motorways, and I loved his discussion of the liminal nature of chain hotels, which feel like they could be anyplace because they all look the same inside.
Ginny Tapley Takemori. I struggle with body horror and am a bit tired of the numerous recent short story collections that deal with women and their bodies. But weirdly, a lot of these stories worked for me. The wind has picked up.
It scatters the birds wading on the mudflats. It catches at the creepers that grow along the Ghost City wall. It lifts and rustles them like feathers. One highlight of this book is how it sheds light on a historical era that very little is known about. It's clear that the author did a lot of research into the time period and did her best to convey the settings accurately. I did take off 1 star, because I wish there had been a bit more "fantasy" elements as opposed to historical elements.
That's just my personal preference though. If you're intrigued by the excerpt above, or if you're a fan of historical fantasy, I recommend that you check out this book when it comes out in July! I have been studying Classics and the historical records of the Ancient Greeks and Romans with keen interest for some time now, along with a customary interest in Norse myths. When I started this novel, this knowledge helped me greatly.
Instead, she takes one of those eras that remains shrouded in mystery, lacking written records or tales of certainty. She takes the tales that do survive, monuments that archeologists have excavated, and the myths that happened because of the crossing of a number of cultures, and weaves a story of women and their space in this society. Londinium in AD is a perfect place to set up a story that constructs history from bits and pieces of records, wrought with magic and superstitions and stereotypes whose standing is questioned.
Isla and Blue are the central characters, but they are also part of the wide spectrum of experiences that women have gone through, always in the background. It is the story of the growth from innocence to self-discovery for the two sisters. And it is woven beautifully with threads of the lives of everyone they come across, and every place they live in. Stott displays a great knowledge of Roman, Anglo-Saxon and Germanic people, the occupation of England by the Romans and what remained when they left.
The creative construction of localised terms was impressive enough, but the concluding section where the modern muddles with the ancient truly completes the book as one of the best of this year. I must say, I picked up this book mostly because I liked the blurb, but it was nothing compared to the treasure the novel held. In three hundred pages we have a story that would otherwise be called an epic if it was sung by bards of ancient times, with two brothers instead of sisters.
In fact, the story became a legend, only with the vanquishers becoming men. I loved the tug of war between that what has been taught and that which the heart and destiny lead the girls to. Isla struggles with the taboo of being a female blacksmith and a lesbian, while Blue lives with secrets that break people. Their love for each other and their final reconciliation with love as a multifaceted entity felt a great incorporation. The story blurs the line between true mystic and magic, and senseless rules.
The shrouding of a slowly-collapsing Londinium in mythical and historical adds to the effect, and the way characters like Blue and Crowther are constructed fit right in. The novel also perfectly captures the politically disturbed climate of the time.
The subtle references to the various ancient English and Roman monuments that barely survive now makes the it a pleasure to read. Stott is also brilliant at creating the environ of her novel. At times it felt I was myself in the same place, looking at a disembowelled head of a Roman god, or hearing the sharp tong of a Firetongue sword being made.
The arc of loss and gradually finding humanises the story despite its magical elements. Most importantly, it goes back to the message that the ancient myths constantly convey: It is not the gods and their temperament that decide our path to fate, it is our own choices.
We forge our lives. This has been a truly pleasurable read, and a cherishable piece of work that can be studied over and over, with all its references to history, myths and archeology. If you add her flare of magical realism and fantastical elements, you have just added a wonderful tale to behold.
The story begins with sisters Isla and Blue. They live with their father who was banished, to the island in the Thames because he made Fire Tongue swords. The King accused him of using Dark Magic to make the swords, when in reality the King only w Dark Earth AD: Rebecca Stott gives us a beautiful, fully researched, piece of historical fiction, with touches of mythology and fantasy. The King accused him of using Dark Magic to make the swords, when in reality the King only wanted to use the smith for himself.
He only wanted their father to be near him so he could watch over him, and make sure he only made swords for him. The great smith has taught his daughter Isla how to forge, and she too can make the fire tongue swords. However, it is against the law for women to know how to become a smith. Blue is an herbalist, something that she has learned from her grandmother. She also has visions of the future while she is dreaming. Both girls have magical abilities. Their father somehow dies and the girls fearing for their lives, take the last sword their father was working on to Lord Osric, asking for protection.
The evil son refuses and wants to keep Isla for himself and use her for his bidding.
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Shelves: , ebook Aud rhymes with shroud. Aud rhymes with proud. Aud Torvingen is a hell of a character. And I lapped all this no-nonsense up. In a move uncharacteristic of me Aud rhymes with shroud. Perhaps a new goal for ? Just read! That is, why save to savour? Why not savour now?! It is difficult to talk about the plots of these three books without spoilers. Not that Aud is a PI or anything, rather, these cases seem to sniff her out.
A very plenty surprise for an armchair traveler like me. Aud travels home to Norway. It is gorgeous. Griffith makes me want to visit. Black or white. On or off. Yes or no. A very plenty surprise for an armchair traveler like me. Aud travels home to Norway. It is gorgeous.
Griffith makes me want to visit. Black or white. On or off. Yes or no. It explains some of the way you react to what life throws at you, the pragmatic immediacy, the readiness — you never forget that there are trolls in the hills. Every moment is a gift. But she describes the woods in which Aud crafts her cabin so mesmerisingly, that I feel a desperate need to step outside, to stand under the shade of a big leafy tree wrong season I know!
Wind flows through the trees and down the mountain, and the clearing seems like nothing but a step in a great green waterfall. Even the freshly split shingles make me think of water. Cedar is an aromatic wood; warmed by the autumn sunlight of a late North Carolina afternoon, it smells ancient and exotic, like the spice-laden hold of a quinquereme of Nineveh.
And yet she manages to stay true to herself. Aud is quite unforgettable. It bills itself as a novel of suspense, but there's no tension. Aud is so knowledgeable, so capable, that there's never any doubt how things will pan out. The writing style leans heavily towards a bildungsroman, with heavy introspection and analysis rather than plot development.
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