The lesbian dies (again)

Posted March 4, 2016 by Nicky in General / 10 Comments

This morning, I woke up at five AM because I needed a drink. I found a note on the floor from my sister, telling me how heartbroken she was about recent developments in The 100, which she’d excitedly stayed up to watch via a stream. For weeks she’s been telling me about this show: Clarke and Lexa this, Clarke and Lexa that, the team promise good queer representation, etc, etc. She was happy and hopeful and it was nice.

In last night’s show, they killed the lesbian. (And as I said on Twitter the first time, if you’re annoyed about the spoiler, cry yourself a river and use it to get in the sea.)

Me and my sister are both queer. We both attended a conservative little private school where we were, as far as I can tell, the first kids to be openly gay while at school since it was founded in the 17th century. You better believe we received threats and constant harassment, from the moment we got onto the school bus in the morning to the moment we got off it at night — and sometimes longer, since people realised it’d be fun to start calling my sister up to continue with it.

In case you hadn’t noticed, homophobia is definitely not dead. I’m 26 and my sister is 21, and mostly things have got better for us. But you can bet we haven’t forgotten it, and that every time I think I see someone from my old school, I still feel a frisson of fear.

But we’re talking about fiction, right? Doesn’t harm anything.

It used to be a rule: if you have a lesbian character, they have to either go straight or come to a tragic end. Queer Tragedy. It had to be there: queer people don’t get to be happy (because they’re deviant). The Well of Loneliness counts as great queer literature — you can tell from the title it’s not going to be happy, and I can assure you it isn’t. It ends with the queer couple breaking up, and one partner going off to be part of a straight relationship, because that’s “safer”.

So no, your decision is not “bold“, Jason Rothenberg. It’s not narratively necessary, because you write the fucking narrative. You can choose. And you chose to look at the excitement around the queer representation on your show, the whole fandom climate with people shouting that a queer character should die so they could have their straight ship, the sheer bubbling hope that maybe this time, maybe this time, people would finally have a lesbian heroine who can kick ass and save everyone and be with the person she loves.

And you chose to say no.

Let me emphasise this: it was not forced upon you. You could’ve made a whole new narrative.

Instead, you killed the lesbian and my sister cried for over an hour. Not just because it was sad, not just because she’d got invested, but because she’d hoped that this time it’d be different and she’d get a love story written for her.

Now I’ve already seen the excuses.

  • It was necessary for the narrative. Covered this one. Next?
  • Lots of characters die. And? It still means something each time. And this time it filled a shitty, shitty trope.
  • The actor had to leave anyway. And character death is the only way to leave the show?
  • It was heroic. Heroic don’t keep anyone warm at night.
  • The show never mentions discrimination by sexuality. It doesn’t have to. We live in a world where that exists, and we experience the story framed by our world.
  • You should be grateful for what you’ve got. When what we’ve got is a reaffirmation of a shitty outdated narrative, why should we be?

When you kill a queer character, you’re killing a disproportionate amount of our on-screen representation. Sure, the diversity was there for a moment, but now the list of queer characters on TV is shorter by one. And it wasn’t that long to begin with. And these are people who need to see themselves in the world, who need to be treated as if they matter. Queer youth have ridiculously high suicide rates compared to their straight peers. You’re much, much more likely to get kicked out by your parents for being gay than for being straight. Schools turn a blind eye. People actively try and tell you that you’re evil and you’ll come to a bad end.

The 100 chose the easy option. The well-trodden path. It doesn’t matter if the lesbian had a heroic end. It doesn’t matter if her death furthers the plot, or even if her partner goes on to do great things without her. The key thing is: without her. The key thing is: queer people die.

We do. Every day. And it’s high time that stopped being our only story.

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Review – Railsea

Posted March 4, 2016 by Nicky in Reviews / 2 Comments

Cover of Railsea by China MiévilleRailsea, China Miéville

Originally reviewed 30th November, 2012

This has to get five stars because it kept me up at night, tantalised me when I didn’t get chance to read, and enchanted me totally. While it’s marketed (and shelved by me) as YA, it’s China Miéville: there’s plenty to keep you guessing no matter how old you are.

I love the ideas, the bits of other stories (Moby Dick being a prominent one), the worldbuilding, the pace of it… The use of an & sign for “and” took some getting used to, but all in all I loved it, and I think the prose was pretty awesome. The whole bit about the & being like a trainline…

The end, what they discover, sort of made me laugh, and then the sailing off at the end — perfect. The characters are all interesting, sympathetic in their own weird ways — I have huge affection for Daybe, and Captain Narphi fascinated me.

Really, even if you haven’t got on with China Miéville’s work before, I do recommend this one.

Rating: 5/5

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March TBR

Posted March 3, 2016 by Nicky in General / 10 Comments

I don’t seem to have been doing very well at keeping up with my TBR lists. On the one hand, I like having a fair number of books on them, because I need to be reading at least a book a day to meet my reading goals. On the other hand, it more or less guarantees that as soon as I get distracted by other shiny books, I end up neglecting the list — especially when I go down the rabbit hole of a series or a particular theme.

Sooo, here’s a compromise: here’s ten books I really must read this month. And to make sure I stick to it, I’ve actually set it up with Beeminder, so that money comes directly out of my book budget if I don’t read these books (which are mostly ARCs and library books). You can follow my goal here… and here’s my ten:

  • The Girl Who Raced Fairyland All the Way Home, by Catherynne Valente. Just out, and I’ve been so impatient about this, I have to read it this month or look silly.
  • The Winner’s Crime, by Marie Rutkoski. I need to read my ARC of the third and final book by the release date this month…
  • The Winner’s Kiss, by Marie Rutkoski. I have until the 23rd. Ish.
  • The Paper Menagerie & Other Stories, by Ken Liu. Out on the 8th, so I need to read it noooow.
  • Different Class, by Joanne Harris. Due out in April, and I’ve had it, uh… a while now.
  • Tam Lin, by Pamela Dean. Because it’s high time I got round to it.
  • Solstice Wood, by Patricia McKillip. Which also entails reading Winter Rose too, probably, but the main thing is reading this, from my backlog.
  • Carry On, by Rainbow Rowell. I bought it on release day and still haven’t read it. I definitely look silly.
  • The Wicked Day, by Mary Stewart. It’s been on the backlog ages and it’s part of a series I’m already reading. Awesome.
  • A Stranger in Olondria, by Sofia Samatar. A random choice from the backlog!

(And now excuse me as I go down a rabbit hole of setting up Beeminder for my Fitbit goals and backlog tackling, too.)

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Review – The Perilous Gard

Posted March 3, 2016 by Nicky in Reviews / 3 Comments

Cover of The Perilous Gard by Elizabeth Marie PopeThe Perilous Gard, Elizabeth Marie Pope

The Perilous Gard was a reread for me — somewhat at random, in fact. It’s just by my elbow in my new desk/shelf set-up, and I was procrastinating on my assignment, and I found myself reading it… And I have no idea why I rated it so poorly before. The writing is great; you can envision every scene, whether it be the sumptuous bedroom Kate awakes in or a grassy hollow in the wood, the overhanging threat of stone and stone and more stone or the brightness of a Faerie gathering. It makes every scene come alive, and the characters too — slightly silly, trusting Alicia; sensible, awkward Kate; torn and guilty Christopher.

The love story works perfectly for me, as well: not surprising, perhaps, considering the way they needle each other. The way Kate refuses to put up with Christopher’s dramatic manpain while still sympathising and understanding and trying to help him. The way that they fall in love, talking about practicalities of draining fenland and building a farm. The way that they keep each other sane and whole, and find each other in the end.

And there’s subtlety in most of the characterisation, too: the Faerie Folk are strange, and think differently, but there’s moments where their emotions seem close to human, where Kate comes close to understanding them, and they her. The only really unambiguously bad one is Master John, who organises things so he can profit from the Faerie people and their Holy Well. They act according to their nature, while he is cowardly and motivated by greed.

It’s also lovely the way it’s woven in with real history: I don’t know if Alicia and Kate were real people (however far from reality this book goes with the fantasy elements), but the story is close enough that it might be, with them waiting on Princess Elizabeth during Queen Mary’s reign, and exiled for interfering. The clash between pagan and Christian is one that many books have touched on, and this one does so with a fairly light hand (and is isolated from the difficulties of Catholicism and Protestantism that went on at the time, though I think Kate is clearly a Protestant), but it works.

The accompanying illustrations are also, for the most part, charming, with just the right amount of life and movement.

Rating: 5/5

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ShelfLove March Update

Posted March 2, 2016 by Nicky in General / 6 Comments

ShelfLove Challenge 2016

ShelfLove Update!

Welcome to March! Since I already had two posts scheduled for yesterday, I delayed this till the second of the month, buuut it contains the stats for up to the end of 29th February, not for 1st March (when I, hahaha, got more books).

  • Books bought this year so far: 32 (out of 250 max).
  • February budget: £50/£50.
  • Owned books read: 24/200 (10 books behind).
  • Books read overall: 48/366 (11 books behind).

So I’m not doing too badly, but I am behind, and I’ve been a bit liberal about book buying. My goal was mostly just to buy less than last year, so 250 is the max; that means 20 per month, so although 32 is too many for February, it’s balanced by the fact that I bought no books in January. Now I just have to behave myself (and read books I already have).

Aaand the theme for this month is: that one book trope that gets on your nerves. And oh, boy, do I ever have it. I’m reading The Winner’s Crime right now, and though I enjoy the world and the characters, there is one thing driving me totally bananas: lack of communication. I hate it when relationships are totally fucked up by a lack of honesty; it’s this visceral dislike that is making The Winner’s Crime very difficult to read (and has annoyed me before in countless other books, e.g. Fitz’s relationship with Molly in Assassin’s Apprentice et al).

I get it! Talking is difficult! But constant miscommunication, especially when you should know better, and extra specially when the plot hinges on you simply not communicating… gah! Get thee hence!

This may be linked to the fact that I find it super embarrassing when people do stupid things, even in fiction…

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Review – The Wicked + The Divine: Commercial Suicide

Posted March 2, 2016 by Nicky in Reviews / 4 Comments

Cover of The Wicked + The Divine Vol 3 by Jamie McKelvie and Kieron GillenThe Wicked + The Divine: Commercial Suicide, Kieron Gillen, Jamie McKelvie & guest artists

Commercial Suicide is right, sadly. I wanted to love this book. I adored the heck out of the first two volumes, and especially with that twist at the end of volume two. And then… McKelvie goes on holiday, we get a load of backstory and alternate points of view, and the story almost entirely lacks the characters we’ve come to love. Partly because there’s a high body count in these comics, but also because Odin can’t be anyone’s idea of a hero, and it’s becoming apparent that Ananke is more than she’s letting on.

I don’t actually hate the art in the way some other readers do. It has broken the consistency of the series, but it was interesting looking at other takes on the characters — and I actually liked the art in the comic about Sekhmet, which I know other people really hated. It just seems to suit her, somehow.

But… this just feels so thin compared to the other volumes. I wanted so much more, especially after Fandemonium.

Rating: 2/5

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Review – The Story of Kullervo

Posted March 1, 2016 by Nicky in Reviews / 3 Comments

Cover of The Story of Kullervo by J.R.R. TolkienThe Story of Kullervo, J.R.R. Tolkien, ed. Verlyn Flieger

The Story of Kullervo is definitely a disappointing book, even for someone as interested in Tolkien’s legendarium and influences as I am. The actual content written by Tolkien is fairly slight and incomplete; the same talk is included twice with only minor changes, and the story isn’t that long. If his tale of the children of Hurin is something that really interests you, his interpretation of the Kalavala might be worth a look, but it feels honestly lacklustre. I’ve often felt that the Tolkien estate has been releasing stuff that J.R.R. himself would never have let into the light of day, and I felt that especially here — he loved the material, and he would’ve wanted to do better by it. The Silmarillion is one thing; his commentary on Beowulf was significant enough to be worth publishing, considering how important his ‘The Monsters and the Critics’ essay was. But this?

Still, there are glimmers of interest here; the way Tolkien tried to flesh out the story and fix some of the inconsistencies, like Kullervo’s family. I don’t know enough about the source material to really understand what he was doing with the names, but there are often glimpses of the kind of names and places that appeared in The Silmarillion et al. Musti is a forerunner of Huan, perhaps; Kullervo is a rather graceless model for Túrin…

But overall, I feel like I rather wasted my time here, which is saddening. J.R.R. Tolkien did amazing work, and I think his legacy is being rather diluted by the popular reissue of things like this — it should, of course, be accessible to scholars, biographers, etc. But please stop selling this stuff as a complete work ready for public scrutiny!

Rating: 2/5

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Top Ten Tuesday

Posted March 1, 2016 by Nicky in General / 10 Comments

This week’s theme is Top Ten Books for if you’re in the mood for [x]. I’m gonna go with complex fantasy worlds!

Cover of Tigana by Guy Gavriel Kay Cover of The Bards of Bone Plain by Patricia A. McKillip Cover of The Traitor Baru Cormorant by Seth Dickinson Cover of A Natural History of Dragons by Marie Brennan Cover of Jonathan Strange & Mr Norrell by Susanna Clarke

  1. Tigana, Guy Gavriel Kay. All kinds of stuff here — politics, magic, storytelling, music, love…
  2. The Bards of Bone Plain, Patricia A. McKillip. Gorgeous, and lots to bite into.
  3. The Traitor Baru Cormorant, Seth J. Dickinson. If you’re sick of fantasy stories in which queer people suffer, maybe not, but I love the fact that this makes being an accountant seem exciting.
  4. A Natural History of Dragons, Marie Brennan. Dragons! In a semi-historical-ish setting. Just read it; I love it.
  5. Jonathan Strange & Mr Norrell, Susanna Clarke. I know it’s a hell of a read, but there’s a lot of rich detail, careful characterisation, as well as throwbacks to Victorian fiction.
  6. California Bones, Greg van Eekhout. Unusual magic system? Got it right here!
  7. Warbreaker, Brandon Sanderson. I’d say Elantris, but I’ve somehow started and not finished reading that twice now. Either of these books seems to have very intriguing settings, though.
  8. Sunshine, Robin McKinley. Want vampires, only actually weird? Magic? Alternate world post-apocalyptic stuff? Go!
  9. Assassin’s Apprentice, Robin Hobb. Okay, it’s the start of an epic series which shows no sign of closing, but come on. Here Fitz is endearingly young and things are not, yet, quite as dark as they will get…
  10. Magician, Raymond E. Feist. Makes this list from pure nostalgia, really — Arutha searching for the cure for Anita in Silverthorn was just, oh, the most romantic thing when I was a teen. Also a major major epic world, with a lot going on.

Cover of California Bones by Greg van Eekhout Cover of Warbreaker, by Brandon Sanderson Cover of Sunshine by Robin McKinley Cover of Assassin's Apprentice by Robin Hobb Cover of Magician by Raymond E. Feist

What would you add to my list? Gonna try anything I’ve included?

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Meeting Will Stanton

Posted February 29, 2016 by Nicky in General / 0 Comments

I wrote this post for the TDIR Readathon, but it never got posted. I thought my bit of nostalgia worth sharing anyway — with some additional details I thought of later…

The first time I met Will Stanton was via the BBC’s adaptation for Children’s Radio, written by David Calcutt. They aren’t yet available for the public as far as I know, though I keep checking back, because once upon a time I lent my old tapes to my sister… and somewhere between me and her, or somewhere in the clutter of our respective bedrooms, episode three was lost. You can find the audio via torrents and such, lurking in the dark and dubiously legal parts of the internet, but I’m holding out for being able to legally obtain them.

The thing is, David Calcutt’s adaptation was really good. It captured the spirit of the books and did a spectacular job with some of the creepier aspects. The voices of the Dark chanting “the Dark, the Dark is rising” terrified me as a kid, and the memory is one of those slightly chilly ones. (I know exactly what I was doing, and how reassuring the noise of my dad doing the dishes in the kitchen was.) It was a simplified version of the books, sure – Will had fewer siblings, for example – but faithful in tone and intent (much more so that the movie adaptation which I pretend doesn’t exist). The voice actors were good; I remember Ronald Pickup in particular voicing Merriman Lyon. Brilliant.

I didn’t meet Will Stanton again until I was fifteen or so. Maybe even sixteen. Somewhere in between, I saw The Dark is Rising at the library, but it never got hooks into me. It was when I finally read Over Sea, Under Stone that I was hooked, and promptly devoured the rest. The clinching point was probably when I finally, finally met Bran Davies, though. He was Welsh and proud of it, the landscape was one which called to me, the myths were those of my home. Arthur was rooted in a Welsh landscape, a Welsh context; noble and familiar from English retellings and not the wilder Welsh version, but closer to his roots than usual. Closer to me.

I’ve read it over and over since then, and I’m not really sorry I didn’t read it as a child, or that my introduction was through an adaptation. Now there’s the perfect voice for Merriman and the Rider, recorded faithfully in my head, and I was old enough when I came to the later books to appreciate some of the subtleties which I know I would have missed as a child – like the tender, painful relationship between Bran and his adoptive father, for one.

At the same time, I’m glad I did encounter the Rider for the first time as a child. Now he properly frightens me – as he should.

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Review – Sunset Mantle

Posted February 29, 2016 by Nicky in Reviews / 2 Comments

Cover of Sunset Mantle by Alter S. ReissSunset Mantle, Alter S. Reiss

I’ve always enjoyed epic fantasy (as a genre, anyway; there are probably individual stories I’ve disliked), so I was excited to see Sunset Mantle in Tor.com’s novella lineup described as such — and doubly encouraged by Jo Walton’s endorsement on the cover. Epic fantasy has such a problem of scope sometimes: you need the world to feel huge, while also giving intimacy with a handful of characters, to make both the setting and the plot work together. Sometimes that makes a book balloon out into multi-volume epics like Steven Erikson’s Malazan books, or George R.R. Martin’s Westeros novels.

So I was very intrigued to see what someone would do without a pre-established world, within the slim confines of a novella. And I think Alter S. Reiss does a pretty good job of sketching in a wider society: tribes, clans, reaches, links both economic and feudal, with politics that dictate what happens in this story while also hinting at greater complexities. There’s the ‘madding’, too — some kind of battle rage, and a system of customs surrounding it which aren’t explained fully, but which shape the circumstances of the story. And Reiss does indeed keep it to a handful of characters: really just Cete, the first character we meet, and Marelle, the blind woman whose embroidery work enchants him, and with whom he falls in love.

If military fantasy is your thing, the battles and the training are here: Cete has to work to pound his unit into shape, to make them work together (of course), and there’s two major battle scenes. I think the only battle scenes I can think of that are evoked more clearly are some in Bernard Cornwell’s The Winter King; the clash of the enemy lines is present in both, and there’s a real idea of the sweat and muck and blood and terror.

I suppose the only unsatisfying note is that we don’t know how the politics continue to play out, how Cete and Marelle weather the changes, and whether Cete ever really receives the rewards he deserves. And really, I do want to know: having got this invested in Cete and Marelle, I want to know what happens, whether they have children, and whether those children come to inherit, and — and — and —

Rating: 4/5

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