Binti, Nnedi Okorafor

I keep meaning to read Okorafor’s work, but Who Fears Death was a bad fit when I picked it up, and my copy of Lagoon has gone AWOL. Which left this as my introduction — maybe not a bad thing, because it’s fairly bitesize, without being truncated. I wasn’t sure what to think of it until I was talking with Robert from my book club, though, where he noted that at the start of the book, things begin to happen due to Binti’s merit. She gets herself into university, and she’s brave enough to leave her family and set out into the unknown. After that, though, it’s luck: she couldn’t know that the things she took with her would be useful, had no idea how to make them useful, and basically just happened to survive and do well because of her background.

It feels almost like message fiction: sometimes, someone from an unprivileged background can make good because they bring new tools which other people wouldn’t consider. That’s not a bad message, and the story and world-building is reasonably entertaining… but. The conflict essentially ends by 20% in — after that, Binti no longer has to rely on her own resources. She just happens to have the right things with her.

That’s a bit of a simplification, but it does weaken the story for me. It starts off strongly, and the world is interesting — Binti’s people, the way things are set up, the aliens — but then… I began to feel as if it would turn out okay because Binti was special somehow. Having a special protagonist who is insulated from harm makes suspense and intrigue difficult.

Rating: 3/5

The Fox’s Tower, Yoon Ha Lee

This is a lovely collection of microfiction, which often teasingly looks over the edge at poetry in the imagery, the choice of words, the spare precise nature of the prose. It’s a collection of fable-like stories, some of them more familiar than others, all of them given their own little twist. There were a few that didn’t really strike me, but microfiction is a very difficult art, and I think Yoon Ha Lee does an amazing job with the form. Each word has to be necessary — done. Each image has to evoke a picture, an emotion, a perfect still moment — done.

I also liked that gender is not a major thing in these stories. It shifts. Someone is referred to as someone’s son, and yet the pronoun is ‘they’. It’s noticeable at first because people don’t usually do it, but I quickly got used to it, and it’s a part of the narrative voice. (Some characters are ‘she’ or ‘he’; it also depends on the character, the story.)

I know Yoon Ha Lee has a sci-fi book deal with Solaris, and I’m definitely looking forward to that on the strength of this.

Rating: 4/5