Marie Brennan's Blog, page 44

New Worlds: Dialects, Pidgins, and Creoles

Last week’s New Worlds Patreon post talked about multilingualism in a way that made it sound like languages exist in separate, clearly-demarcated blocks. Since that isn’t true, now we’re turning our attention to the messy boundaries of dialects, pidgins, and creoles! Comment over there.

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Rook and Rose Book 3, Chapter 2

Retroactive progress-blogging continues! I’m glad that a number of you spoke up in the comments to various versions of the previous post to say that you enjoy these things; it helps me feel that it’s worth the contortions to say interesting things without giving spoilers.

Though having looked back at my posts for The Liar’s Knot . . . wow, heh. Should any of you try to slug those against the book itself come December, be aware that if you’re scratching your head and thinking, “I can’t figure out what this is referring to,” that’s probably because what it’s referring to isn’t there anymore. We changed a lot in that book, both in the course of drafting it (e.g. me saying “everything in this chapter focuses on Vargo!” and then later we replaced a scene with one that has nothing to do with him) and during revisions. Other scenes are still in the book . . . but in a different chapter now, oops, good luck tracking that down. When I talk about getting pov in for a character who hasn’t had it in a while, and then the only pov characters in that chapter are ones you see all the time? We rewrote a scene to be from Ren’s viewpoint, because the plot thing that scene was originally doing got beefed up enough in revisions for The Mask of Mirrors that it made what we’d written pointless, so we had to change it to focus on something else more Ren-centric. I make extensive coded references in the posts for Parts IV and V to a narrative strand we kept having to re-wrangle — but because said references are coded, you can’t actually tell that we ripped that entire strand out of the back half of The Liar’s Knot and replaced it with a completely different one. (Though there’s one bit where I talk about how we do something horrible to a character at the end of a chapter, and that’s still true! It’s just, uh, a different horrible thing to a different character.)

I can hope that the same won’t be true with my posts for this book, but I’m not holding my breath. If I’d posted about Chapter 2 as we were writing it, I might have referenced a conversation with C– that leads to a moment we really love with F–. But the conversation with C– isn’t here anymore: we realized that wasn’t as high priority as something else, so we rewrote the back half of that scene to do the more important thing instead. Then we were having trouble with the following scene, until we realized it would be better in a different viewpoint — the same viewpoint as the previous scene, hmmm, do we really want to have two of those back to back? — hang on, given that we pulled the conversation with C– out, is that scene even very useful anymore, especially with the exposition there clunking so hard? Scrap that scene, put the weight it’s pulling into the scene we were having trouble with and do it in that better viewpoint, re-use the opening premise of the scrapped scene in Ch. 4 with a different character showing up, move the C– conversation to Ch. 5, and the later fallout with F– will be in Ch. 7.

Oof.

(Oh, and also: we slotted an additional scene into this chapter as a quick break while writing Ch. 6. Linearity, what’s that?)

I swear, if we do write another book in this setting, it’s gonna be less intrigue-y. And also shorter. So we don’t have to play quite so much of a game of Twister, trying to n-dimensionally pack everything we want to do in the space allotted.

Word count: ~12,000
Authorial sadism: I feel like the sadism was on ourselves with all those changes of plan, but since that’s not what this part of the report is for, let’s go with someone having fun being a bit of a dick to somebody who deserves it.
Authorial amusement: “Would you like to see my collection of Seterin crossroads idols?” (Which are basically herms, not that we come out and say it.)
BLR quotient: I think love wins out, given the number of people we have working together here in various combinations — including scheming behind the back of someone you loathe to save them from the consequences of their situation.

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Revenge of the Return of the Rook and Rose Progress-Blogging

Up until now, I haven’t been blogging the progress Alyc and I are making through the draft of the third Rook and Rose book. It gets harder to do this sort of thing the further you get into a series; what I can say about the story is always constrained, of course, because I don’t want to give wild spoilers, but it gets even more so with subsequent books. When I progress-blogged what became The Mask of Mirrors, I could talk about R– and D– and so forth without any of y’all knowing who I meant. Now, even giving an initial means I am at a minimum spoiling that said character is still alive and in the story (since in most cases you’d be able to guess who the letter refers to; we have very little overlap in our central cast), and because you know them all now, you can also read more into even hints of their activity. Assuming, of course, that you’ve read the first book, which not everybody has — so spoilers might be not only for The Liar’s Knot (out in December!) but for The Mask of Mirrors, too.

But . . . we both enjoy the progress-blogging. Maybe some of you do, too; who knows about that; but it turns out that me reporting on the story is part of what helps us feel like it’s a Real Book that will Really Be Out Someday, rather than a chimera that exists only in our heads. And as we go three rounds on the wrestling mat with the many-tentacled kraken of our plot, it turns out we crave that marking of the milestones.

So I’m going to be backtracking to report on our progress with earlier chapters, before catching up to where we are now! Doing it retroactively is a little odd, but then again, it’s very nearly the only sensible way to do it, as we’ve been much less linear this time around. One conversation got kicked to like three different places in the draft before it found its (probably) Forever Home; other chapters have seen us skip over a scene before backtracking to write it. (The bit where we started writing Chapter 8 before touching Chapter 7 is entirely on me and my inability to remember what order our plot is going in. As God is my witness, I thought that bit came next.) Once I catch up to where we are in the draft, hopefully we’ll have settled down into less back-and-forth; if not, well, blogging might be more sporadic as I wait for us to really truly finish a chapter and not relocate bits of it elsewhere.

So, Chapter One! Which didn’t get rearranged, but did get a significant revision post-drafting on account of us realizing that a) we’d skipped past some stuff we really needed and b) we’d missed the mark a bit tonally with a new character. This is also a short chapter for us — this book will have more chapters overall, so they each need to be somewhat shorter, and this one is much shorter because there really wasn’t structural room to add anything else. That’s fine; it buys us leeway to have some later chapters be longer.

For those who are new to the progress-blogging or have forgotten what the standard report at the bottom means, “authorial sadism” is our favorite bit of meanness to the characters, “authorial amusement” is our favorite bit that’s mostly about entertaining ourselves (always in service to the story, of course) (okay, usually), and “BLR quotient” measures the relative balance of blood, love, and rhetoric, where blood = conflict and literal violence, love = positive interpersonal relationships, and rhetoric = conceptual stuff and also politics, not that the last one there isn’t also sometimes blood.

Word count: 5300
Authorial sadism: A particular chicken coming home to roost, at long last.
Authorial amusement: CHICKEN CUP!!! (An in-joke nobody else will see, as no such thing actually gets mentioned in the text.) Also “now I know why embroidery is outlawed in Ganllech,” though that may or may not stay.
BLR quotient: The rhetoric very much has some blood on its claws today.

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New Worlds: Multilingualism and Lingua Francas

Do you speak a foreign language? This week the New Worlds Patreon considers multilingualism (superpower? or not?) and the use of a common tongue to communicate across diverse communities. Comment over there!

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New Worlds: Bargaining Chips

For the conclusion of the New Worlds Patreon tour through different types of commerce, we’re taking a look at bargaining! Hint: contrary to what fiction would have you believe, there’s a lot more to it than just throwing numbers at each other until you meet in the exact middle between your starting positions. Comment over there!

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New Worlds: Let’s Go Shopping!

The tour of the New Worlds Patreon through various commercial topics has reached the familiar setup we mostly use today, i.e. stores. Comment over there!

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You can never go home, Oatman! . . . but apparently you can shop there.

Forty-one years, two months, and fifteen days ago, my parents moved into a newly built house in Dallas.

Now I’m here to say goodbye.

The house has been sold, though they won’t be moving out for a while yet (giving them time to finish divesting of stuff they won’t be bringing with them). After this, unless I attend a convention in Dallas, it’s entirely possible I’ll never revisit the city I still think of as “home,” even though where I live in California is also home.

It helps a bit that my parents have kind of Ship of Theseus-d this place over the years. It isn’t a time capsule of my childhood; many things have been updated along the way. The cheaper, more busted furniture got replaced by nicer stuff once my brother and I were old enough not to wreck it. Ditto the carpet. The linoleum in the kitchen gave way to much classier tile, the formica countertops to granite. After both kids were out of the house, my parents turned my brother’s old room into an office, while the former office-cum-guest room became a dedicated guest room; along with that, they ditched my daybed with its elevating trundle and put in its place a proper bed for me and my husband (which necessitated rearranging the bedroom around it). The most recent bout of renovations replaced the living room carpet and the kitchen tiles with hardwood, along with painting over all the wood paneling in the grey color that is unfortunately in style right now. I wasn’t a fan when I saw it two Christmases ago: between that and the new LED lights on the tree, the warm glow of my childhood memories was replaced by a room that felt like it could refrigerate meat.

But there haven’t been any structural additions, nor any walls ripped out to change the layout of the house. And in the public rooms, everything is still where it’s always been: the furniture may be newer, but each piece sits exactly where its predecessor did. I used to joke that if I were struck suddenly blind, I would come home while I learned to cope, because I could walk through this house in the dark and not hit anything. My parents have lived in this house since before I was born; I’ve never known them to live anywhere else. Them moving is a bigger earthquake than any I’ve experienced in California.

(Contrary to my subject line, though, the house will not be replaced by a convenience store. I just couldn’t resist the Grosse Pointe Blank reference.)

Most people I know moved at least once in childhood, often more than once; lots of Americans these days are peripatetic enough that living in the same place for over forty years has become pretty rare. Severing this connection feels a bit like losing a taproot. It’s necessary, though — and it was always going to be inevitable. Even if my parents had chosen to stay here, I wasn’t going to move in when they passed away. Better to have the shift happen now, by choice.

Saying goodbye is going to be hard, though.

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The Advent of Scent, Weeks 20-23

I haven’t actually stopped testing perfumes; I just got waaaaaay behind on posting about them. So behind the cut lieth an ENORMOUS dump of thoughts on what I’ve been going through! Some of these are from Codex friends — including a bunch from different perfumers — while others are a couple of freebies from BPAL that came with me ordering Black Rose (because of course I had to try that one); then I’m off into some of Haus of Gloi’s summer collection. Yoon, I think you might be interested in some of these!

(Reminder to everybody else: you are more than welcome to request anything I don’t say I’m keeping. Do you realize how many samples are sitting around my house these days???)

WEEK 20

* Ambra di Venezia (Ambra di Venezia)
Described as bergamot, lime, tangerine, jasmine, narcissus, mango, and sandalwood.” I didn’t take good notes on it beyond it starting off as a nice, clean lime with maybe a hint of jasmine, but judging by the pile I put it in, I liked it enough to keep it for later re-sampling.

* Hesperides Grapefruit (fresh)
Described as “mandarin, Italian lemon, grapefruit, bergamot, lotus flower, transperant jasmine, rhubarb, musk, and peach.” This was a very juicy citrus mix at first, mellowing into the peach and maybe the rhubarb. It’s nicely fruity, but not for me.

* Anima Dulcis (Arquiste)
Described as “sesame seed, cinnamon bark, oregano; clove buds, cumin, huele-de-noche (night-blooming jasmine), smoked chili infusion (ancho, guajillo, and chipotle); Mexican vanilla bean, cocoa bean absolute, and oriental-chypre accord.” I respect what this one is doing! After this many samples, there’s starting to be a same-ness to many of them, but this one is distinctly different: spicy without being the usual spices, foody without being the usual gourmand notes. I ultimately don’t like the smell of things like cumin or chili well enough to want this one, but it wins points for being interesting!

* Beautiful Times (Nanette Lepore)
Described as “bergamot, mandarin, orange; violet, ylang; sandalwood, and caramelized sugar.” Starts off in the mandarin/orange with deep sugar end, then goes to violet and what I think is the ylang (that’s apparently another fruity-smelling flower) before ending up on sweet sandalwood. Worth trying again!

* Aqua Decima (Maison Francis Kurkdjian)
Described as “tangerine, lemon, mint, neroli, petitgrain, vetiver, and white wood.” It’s a nice, astringent, clean scent, but it faded too fast. (Also, side note: I literally had to run a Romanian site through Google Translate to find out what’s in this one, because none of the English-language sites I found admitted this perfume even exists.)

* Petit Matin (Maison Francis Kurkdjian)
Described as “lavender, litsea cubeba, musk, ambroxan, hawthorn, lemon, and orange blossom.” Orange and lavender with a faint a woody note; then lavender and hawthorn; then it goes down to what I think is the ambroxan, which I really did not like.

* Indigo (NEST)
Described as “Italian lemon, orange bergamot, Moroccan tea, Kashmir wood, and wild figs from the south of France.” Citrus and something heavier (the wood or the fig) gave way very rapidly to something way too floral for my taste.

* Luxe de Venise (Catherine Malandrino)
Described as “grapefruit, apricot, raspberry, jasmine, rose, musk, amber, and geranium.” I took crap notes on this one and then apparently misplaced it entirely, so I guess I’m keeping it for later re-testing by dint of not having it on hand to give away?

WEEK 21

* Black Saffron (Byredo)
Described as “juniper berries, pomelo, saffron, accord cuir, black violet, cristal rose, blonde woods, and vetiver.” This one was okay but not remarkable, swinging from a very sharp and astringent pomelo/juniper, through a sweeter violet-to-rose phase, ending on a slightly woody rose.

* Black Tulip (NEST)
Described as “Japanese violet, Indonesian jasmine, patchouli, pink peppercorn, black amber, plum, and cherry.” Cherry peppercorn floral, the by now expected violet bloom in the middle — and then it takes on that unpleasant floral edge I dislike so often.

* Wild Poppy (NEST)
Described as “Rose de Grasse and hints of Himalayan jasmine with the luscious aromas of pear, raspberry, and apricot.” I got a nice spectrum of the fruits at the outset — raspberry and apricot in the bottle, with pear once I applied it — then the rose started to assert itself with a little jasmine, but it kept the fruity undertone rather than just straight-up fading to floral. It went into the try-again pile!

* Amazing Grace (philosophy)
Described as “bergamot, lemon, neroli, muguet (lily of the valley), orange blossom, rose, jasmine, and musk blend.” I’m amused that some things go into my notes as “generic perfume” — a phase this one outgrew, but by way of a brief soapy phase before ROSE (and jasmine) and eventual rose musk. File under “I have better roses.”

* Sin
Described as “amber, sandalwood, black patchouli, and cinnamon.” Thus was crafted the first half of the theory my sister and I formulated, which is that black patchouli = I should be selling crystals. Seriously, this made me smell like such a hippie — the cinnamon and sandalwood were in there, and I like both of those, but this is very much not me.

* Jazz Funeral
Described as “bittersweet bay rum, bourbon, and a host of funeral flowers with a touch of graveyard dirt, magnolia and Spanish moss.” Way back at the beginning of this experiment somebody warned me that when BPAL lists a “dirt” note, they mean it; well, now I have evidence of that. This initially had a sharp leading edge with something kind of fruity or herbal, but pretty soon it went to dirt with either a floral/spice (early drydown) or sweet layer over it. I . . . do not like dirt as a scent, thanks.

* Incantation
Described as “vetiver, dark woods, crumbling and burnt black sandalwood and a drop of lemon rind.” I’m still not super-clear on what vetiver smells like, but there was a sharp, medicinal note dominating here that I really didn’t like much. A woody note came through for a bit, but it didn’t compensate enough.

* Black Rose
Described as “a blend of roses, with a touch of amber and musk,” and bought entirely because of Rook and Rose. I’m keeping this regardless, but if I try it again, maybe I won’t put on so much next time — it’s a very heavy, sweet rose.

WEEK 22

* Ravenous
Described as “red patchouli sweetened by orange blossom.” Here we formulated the second half of the theory, which is that red patchouli = I should be selling furniture with little mirrors in it, possibly at Pier One. Still smell like a hippie, just a different variety. And . . . yeah, yikes, I can cope with patchouli when it’s a minor element in a larger scent, but not when it’s the main note.

* Les Bijoux
Described as “skin musk and honey, blood-red rose, orange blossom, white peach, red apple, frankincense and myrrh.” Another one that’s not bad, but I have better. In the bottle, it’s honey apple underlaid with resin; wet it’s more sharply apple; then it balances out wit the resin and honey as it dries. It gets a bit of a chemical edge for a bit, before eventually settling down to a heavy honey musk.

* Carnal
Described as “bold, bright mandarin paired with the sweet, sensual earthiness of fig.” For once the mandarin lasted! But I found the fig a bit off-putting; to me, these don’t combine super well.

* The Great Sword of War
Described as “mandarin, tonka, saffron, black tea, cocoa, tobacco leaf, sanguine red musk and five classical herbs of conflict.” Bleh — this may be very fancy soap, but from start to finish it smells like soap, and do. not. want.

* Uruk
Described as “thick bitter almond and heady night-blooming jasmine with saffron, cinnamon leaf, red patchouli, river lilies, bergamot, fig leaf and the sacred incense of Inanna.” Dammit! I really liked this one at the outset, in ways I can’t describe very well, except to say that it was complex. But then . . . cinnamon soap. Stupid soap.

* Dorian
Described as “a Victorian fougere with three pale musks and dark, sugared vanilla tea.” I’m not sure if they mean the elements of a fougere are in here (the basic components of that being lavender, oakmoss, and coumarin), but all I ever smelled was vanilla musk, cut for a little while in the early stages by the tea. Not interesting.

* Satyr
Couldn’t find the ingredients for this one, but it was pretty much just straight-up patchouli. Something lighter or sharper came through briefly when I applied it, but the rest of the time? Patchouli.

* Whitechapel
Described as “white musk, lime, lilac and citron.” I’m not super familiar with lilac, but I assume that’s what I got alongside the citrus early on. And unlike most things with musk in them, traces of those persisted even into late drydown! Worth trying again.

WEEK 23

* Vicomte de Valmont
Described as “ambergris, white musk, white sandalwood, Spanish moss, orange blossom, three mints, jasmine, rose geranium and a spike of rosemary.” For a change of pace, this one started off as supah fancy herbal soap, but shed that as it started to dry. Unfortunately, what it turned into was ambergris, and at this point I’m pretty sure I will never be fond of that.

* Imp
Described as “white peach, amber, golden musk and patchouli.” The peach and amber help restrain the patchouli this time around, but there’s an unpleasant chemical tinge in the end, so nope.

* Ephemera
Described as “sorrowful violet and chamomile with muguet, white geranium, calla lily and tea rose with a hint of autumn leaves.” I’m still not good enough with different floral scents to pick out what in here might have been the muguet (lily of the valley), geranium, or calla lily, but in late drydown I think something else came to join the violet and rose, those being what I smelled most of the way through. Meh.

* Boardwalk (Haus of Gloi)
Described as “sea air, tropical vanilla, dune grass, and pikake flower.” This was a nice beach scent, but it didn’t age as well as I’d like. It’s sort of a lot of things along the way — a faintly sweet, fruity suntan lotion kind of scent, then vanilla, and something grassier, and possibly the fruity floral almost coconut-like bit was the pikake? Who knows. But it didn’t quite keep it up in a way I want to hold onto.

* Lucky Cat (Haus of Gloi)
Described as “fresh ripe kumquat and mango with a touch of bamboo mint and a wisp of incense.” Another in the “orange Tic-Tac” family, though the mint helps rein the sweetness in, and then I think a bit of the mango shows up? Not for me, though.

* Easy Daisy (Haus of Gloi)
Described as “green grass, wild dandelion, a hint of lemon and a drop of chamomile in a base of soft Egyptian musk.” In the bottle: green, lemon, maaaaaaaaaybe some chamomile? Wet, it’s green and dandelion. Chamomile comes up for a bit in the drydown, and then the green sticks around to cut the musk. I’ll try it again!

* Driftwood (Haus of Gloi)
Described as “sun bleached driftwood, dry black musk, warm sand, dune grasses and a damp oceanic breeze,” and yeah, I got this one because of Driftwood. I don’t think I’ll keep it, though. It’s kind of a musky, sandy grass at first, but it rapidly goes to woody musk, and I don’t like the woodiness enough.

* Beguiled (Haus of Gloi)
Described as “lemon cake made with the tang of fresh buttermilk and raspberry coulis — an otherwise innocent cake corrupted by cardamom and deceptive pink peppercorns.” (Haus of Gloi, have you been taking copy-writing lessons from BPAL?) This one’s tasty! Lemon buttermilk cardamom in the bottle, switching balance to buttermilk lemon cardamom when I apply it, but fortunately that butter note fades. Then it’s lemon trading off with raspberry as time goes on. I never really got the peppercorn, but that’s fine; everything else is delicious.

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Books read, May 2021

Belated!

Midnight Doorways: Fables from Pakistan, Usman T. Malik. I met the author at, hmmmm, I think ICFA? The book is quite literally from Pakistan; at least when I placed my order, it wasn’t available in the U.S. Some of these verged in more horror-ish directions than is my cuppa, but I liked the collection overall. And I found it particularly interesting to see where the text doesn’t bother explaining stuff: a statue from Mohenjo-daro gets referenced as if the reader is assumed to be extremely familiar with its appearance, and one story hinges on the idea of stoves being a source of fear, without saying outright why. (In the former case, I searched online for the image; in the latter, I had a vague recollection which I then confirmed, which is that men who want to get rid of their current wives will burn them alive and then blame it on an explosion from a kerosene stove.)

The Bear and the Nightingale, Katherine Arden. An absolutely lovely historical fantasy novel set in Russia, the first of the Winternight Trilogy. It managed to make me feel sympathy for the “evil stepmother,” and I like the ambiguity around the romance — I’ll be interested to see how the tension of the latter plays out in the rest of the series.

Star Eater, Kerstin Hall. Disclosure: the author is a friend. The worldbuilding here strikes a balance where on the one hand, the things people are doing are deeply messed up, but on the other hand, you see why just deciding not to do those things isn’t a solution. (Example: if you stop your rituals, the floating island everybody lives on will literally fall out of the sky. Into a demon-haunted wilderness, for bonus points.) As a result, it comes with trigger warnings for things like cannibalism and a really twisted sexual scene. This book is a stand-alone — I don’t know if Hall intends more in this setting or with these characters, but the plot doesn’t demand it — but I’d be interested in more about the history behind everything we see here. You get bits of it in the last segment of this book, but my nerdy heart wanted more!

A Snake Lies Waiting, Jin Yong, trans. Anna Holmwood and Gigi Chang. Third of the ongoing English translation of the book usually called Legends of the Condor Heroes. I distinctly enjoyed the portion of this that had to be more about problem-solving than just fighting your enemies — first with setting up a trap; then with getting someone out of it — and chef’s kiss to the bit where one of the bad guys screws up his attempted takeover of the Beggar Clan by trying to be too dignified. On the other hand, it’s deeply grating when one of the two strongest female martial artists in the whole story is described as being no match for a third-tier dude who’s literally had the entire lower half of his body crushed with a boulder.

A Radical Act of Free Magic, H.G. Parry. Second half of the duology that began with A Declaration of the Rights of Magicians. Robespierre is dead; Napoleon is on the rise; Haiti is in the process of becoming a free country; England is having problems. The pacing that results from a duology structure means I spent the first chunk of this book having a sad that Pitt and Wilberforce basically weren’t talking to each other, but fortunately that didn’t last. The ending is also interesting because of how closely this hews to the shape of real history, while providing different reasons for events: the invented threat gets thoroughly taken out, but other bits are left somewhat dangling because history says they won’t be dealt with for another few years or decades. I didn’t find it unsatisfying, but it definitely isn’t as tidy as we usually expect from novels.

The Pocket Workshop: Essays on Living as a Writer, ed. Tod McCoy and M. Huw Evans. I swear to god that someone whose blog I read regularly had a review of this book, but I’ve checked all the usual suspects and not found it, so either I missed it in my search or I’m imagining things. And yet, if I didn’t see a review, then where did I find out about it? Anyway, this runs the full gamut from the basics of craft to some philosophical things about life as a writer. Unsurprisingly, I found the latter more useful than the former, but this could still be a good book to recommend to a newer writer.

City of Blades, Robert Jackson Bennett. Second of the Divine Cities trilogy, and it’s been years since I read the first one, but that didn’t materially hamper my enjoyment. I continue to be be fascinated by the type of worldbuilding I see here and in Max Gladstone’s Craft Sequence, where it’s a secondary world with magic but the general feel is modern rather than historical. (Who else does that?)

Peasprout Chen: Battle of Champions, Henry Lien. Second of a middle-grade series about martial arts figure skating. For much of this book I was enjoying it but also a little frustrated with Peasprout’s blind spots, because I keep wanting her to be more diplomatic and aware of others (while fully recognizing that the whole point is that failure to do so is a flaw she’s having to grow past; this is more about me not being the target audience than anything else). Then I got to the end of the book and OMGWTFBBQ PLEASE TELL ME THERE WILL BE A THIRD BOOK BECAUSE I NEED ANSWERS. O_O

The Thief, Megan Whalen Turner. This is a series I’ve heard recommended many times over the years, and I finally got around to picking up the first book. Having done so, I’ve gotta ask . . . does it get better? Because I was seriously not impressed. Something like a fifth of the book is the characters traveling while having the same repetitive interactions and facing no particular challenges. Then they’re still traveling, but at least there are some challenges and the interactions have gotten less repetitive. I semi-guessed where the story was going, but when I found out I was right, my main reaction was to be irritated by how unreliable the narration had to be in order to pull that off — not least because it left Gen a fairly colorless character along the way. I’ll keep reading if people tell me the later books are stronger, but if this is one of those cases where a person’s reaction to the first installment is diagnostic of the whole, I may not bother.

Wonderbook: The Illustrated Guide to Creating Imaginative Fiction (Revised & Expanded), Jeff Vandermeer. So, I feel like how you react to this book will depend greatly on how well you vibe with Vandermeer’s preferred aesthetic, which very much tilts toward the surreal and grotesque. I . . . don’t, so from my perspective, the illustrations that pack this book mostly just make it longer and heavier. Even the ones that are diagrams intended to demonstrate some point or another about narrative add basically nothing for me. The text was mostly fine, but for me the greatest value by far comes from the mini-essays sprinkled throughout from other writers, just because I think it’s good for one’s writing advice to come from multiple sources. I have a harder time imagining when I might recommend this book than I do with The Pocket Workshop, unless I knew the recommendee really digs the aesthetic.

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New Worlds: Come Buy, Come Buy

We’ve gotten very sedate with much of our commerce, conducting it behind doors and walls. But many things used to be sold on the streets (and in a few, limited cases still are), so this week the New Worlds Patreon takes a look at that approach! Comment over there.

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