Reading roundup
Tad Williams, Otherland: City of Golden Shadow -- I'd been avoiding Otherland for quite a few years, because it was such a huge book, and VR is not really my thing, and finally took the plunge. I'm now sorry I waited so long. I really enjoyed the book, VR and all. It was well written -- downright poetic in places -- and I'd forgotten how funny Williams can be (my favorite line: "So that's one 'Yes,' one 'No,' and one 'I had a dream about a bug.'"). Not all of the character plot lines were equally interesting to me, but none of them annoyed me, either (the one that came closest was that of the little girl on the military base -- mostly because I kept trying to figure out how old she was, and kept getting confused by what seemed to me to be contradictory age behavior. And what's with the Shakespearean names -- is that ever explained?). My favorite plot line, though, was Orlando Gardiner's -- partly because of the Tolkien homage, and partly because I the first Otherland story I read, and the one that enticed me to try the novel, was a novella in one of the Legends anthologies with him as the hero. So I was kind of spoiled for his whole plot line, but it was still a lot of fun to read. And I think Williams actually does a very good job of writing him both as a regular teenager and reflecting his actual situation. Oh, and, he's local -- that was nice, too :)
Terry Pratchett, Going Postal -- a new Discworld favorite! I loved Moist (except for the name.. I mean, I know that was the point, but it was just... well, I would have preferred him to be called something different). And it was a Vetinari-heavy book, which was really nice -- although he seemed a bit off there in the beginning, talking about angels. But later on the feeling of off-ness disappeared, and his interaction with Reacher Gilt (that *is* a wonderful name) was simply priceless. (And -- random digression -- the "Tyrant" line? Reminded me very much of Jack Sparrow saying, "Pirate" -- which was a very odd juxtaposition, but there you go. Thinking back over the book, the bits in between Moist's assorted crazy schemes were actually not particularly interesting, but even that works in the book's favor, really highlighting Moist's personality and effect on those around him. So, really, really liked it, and am looking forward to seeing Moist's cameos in other books. Oh, and can't wait to read Thud!, too -- probably not to the point of actually buying the hardback, but hope the library gets it soon.
Jim Butcher, Furies of Calderon -- pretty much the whole time I was reading this book, I was trying to convince myself it was by the same guy who writes the Dresden Files -- it had a very different feel, naturally, of course, being high (or alternate history type) of fantasy rather than urban noir. It did have the same engaging, fast-paced style. The magic -- elemental magical entities called furies bonded to and answering the commands of humans -- was really neat, in a cozy way, kind of like a hybrid of the kigh in Tanya Huff's (I think?) Quarter books and the daemons in His Dark Materials. My main complaint with the magic is that the waterworkers seem to powerful, with the healing/regenerative abilities, but there were all kinds of clever ways to circumscribe and limit magic, so that was good. The characters I liked best were actually the bad guys (but that might be just me), especially Aldrick ex Gladius, the mercenary (favorite line: "You aren't... you can't be... I killed you!" -- OK, so it looks cliche without context, but it worked nicely in the scene). The thing that puzzled me quite a bit is where the book left off concerning ***SPOILERY thoughts and speculations*** Tavi's identity. So it's pretty clear his father's identity is important from the conversation between... the aunt and the... other guy (this was awhile ago). And I'm pretty convinced that Tavi is short for Octavius, as in Gaius Octavius (especially as "Fidelius" got shortened to "Del"), making him the son of the prince killed in the valley and heir to the throne. But, um, is that supposed to be obvious? In which case, why leave that unresolved (for the reader, if not for Tavi himself)? Or am I completely making this stuff up?
Orson Scott Card, Shadow of the Giant -- I don't rightly know why I keep reading this series. I haven't really, truly enjoyed any one of the Shadow books -- the first one felt like a revisionist undermining of the original Ender story (messing with something I loved, in other words), and the rest were... meh. Card did a great job writing about brilliant children in a very constrained environment. Writing about brilliant adults? Not so much fun, as they all come across sounding and acting pretty much the same. Nobody stood out, nobody elicited any strong emotion (but Mazer Rackham and Graff probably come closest, in their cameos). And what he is doing with Peter... I have a hard time seeing the continuity with the boy in Ender's Game. Here's another thing that really bugged me -- Anton. This may have come up in an earlier book, too, but I must have repressed it -- he is a homosexual character (and Card's views on homosexuality are... I have a hard time deciding whether "evil" or "stupid" is the more appropriate word ). So he introduces this gay character, and then has him repudiate his nature for the glorious goal of reproduction, marry somebody and knock her up -- which he is congratulated on in this book. Just, ugh! At least keep your stupidity confined to non-fiction, already! This is especially jarring since OSC, a deeply religious person, does a generally very decent job of writing for characters who are sometimes vehemently atheistic. So, anyway, I finished the damn thing, and am glad of it.
Rosemary Kirsten, Steerswoman's Road, The Lost Steersman, and The Language of Power -- I read this in weird order, having picked up Language of Power first, not realizing it was not just another book set in a world, but a continuation of a monolithic story. Also, the dragon-spangled cover fooled me into thinking the book was fantasy, and as I read further into it, I was horrified to discover that it was what I thought to be sci-fantasy. But then I decided to start from the beginning, and picked up Steerswoman's Road -- and realized that the series was actually science fiction, which greatly placated me, because I *hate* sci-fantasy. So, starting from Steerswoman (which is my favorite book of the three), I liked the series much better. It's got likeable characters, and an interesting world that slowly emerges, through the measured pacing, and the long stretches dedicated to science -- to learning things, to figuring them out step-by-step right in front of the reader -- my science geek side really enjoyed that, as well as the fact that a lot of the time the conclusions Rowan the steerswoman reaches through careful observation and reasoning are, nevertheless, wrong. I also liked that certain little things were never explained -- like the term "seeyoh" for instance, or the rather more transparent "Krue". Or, you know, the central "mystery"/background, though that's made pretty clear in Steersman. My favorite part of the three books (which don't wrap up the story -- I don't know if there are more out there or on the way) was the description of the Outskirts and life therein -- the world-building is strongest and most vibrant there. I missed them a lot in the latter books. My main quibble was that certain action scenes went on too long -- the dragon episode in Language comes to mind, as in, get to the point already. But I definitely enjoyed these overall, and would continue reading the series.
Jim Butcher, Blood Rites -- this is #6 in The Dresden Files (about Harry Dresden, the only professional wizard in Chicago's phonebook and his noirish misadventures in saving the Chicago/the world). I missed #5 (Death Masks) apparently, and must try to remedy that, and while I'm at it, book #7 is also out (Dead Beat). While browsing the Amazon website for this info, I found the following quote: "Jim Butcher's Dresden Files novels have been compared to Harry Potter with an adult tone and attitude." I've actually thought the same thing myself -- both have a "saving people thing", and a tendency to face the ultimate evil alone, as well as a tendency to end up on the wrong side of the law/good publicity, which I guess is not so unexpected, but yeah. I can't say that anything particularly stood out about this novel -- Harry's personal history and relationships are becoming darker still and more and more convoluted, but I guess it's got to go somewhere. I liked the character of Kincaid the mercenary best (glancing above, at Furies, by the same author, perhaps there is a theme here... OK, so I have a thing for morally ambiguous (at best) big guys with a deadly skill with weapons, so sue me!) -- I guess he was introduced in #5, but I missed him there -- all the more reason to catch up.
Eoin Colfer, Artemis Fowl: The Eternity Code -- Eh... the library didn't have much else, and I'd read the first two. The thing that I noticed -- and which annoyed me -- about this one (probably a sign that I've been spending too much time browsing deleterius), is how much the other characters talk about how clever and fun and generally life-changing Artemis is. Like I said, eh...
Roger Zelazny, Nine Princes in Amber and Guns of Avalon -- I'm almost ashamed to admit I'd never read these before, but there are just too many books in the series, and any time I actually managed to figure out which order they went in, I could never find the first. So this time, when I actually located #1 and #2 at the library, I had to jump at the chance (unfortunately, it skips to #5, #6, and #8, I think, from these, so, ugh). It's funny... the series seems to be more than the sum of its parts, as the individual components are neat but not extraordinary. The central idea of Amber and Shadows, and the general way magic works is interesting but not particularly resonant to me (the way Butcher's furies or Huff's kigh are), nor mind-bendingly novel. The style is interesting, but again, neither particularly lyrical nor gripping (and what's up with the "thing" thing in the first book?). The characters (keeping in mind that this is only, what, 1/5 of the way through the story) are somewhat spare -- we are limited by Corwin's point of view, though I found myself liking Corwin quite a bit half-way through -- right around the time of the coronation. The plot is complex, and I definitely like the layers of intrigue, but, again, not so unusual. The way these things come together is something special -- the combination makes for a real mythical feel, at once grounded and detached. Anyway, I'll be trying to make my way to, and then through, the next couple of novels.
New Magics anthology, Patrick Nielsen Hayden, ed. -- this was a mix of stories and authors I've read before, and those that were new to me. I must say, my favorite of the dozen was Neil Gaiman's "Chivalry", which I have read before, in Smoke and Mirrors. It's just an exquisitely crafted tale, human and magical and funny and sad and beautiful, with not a word, not a detail out of place. Other stories I'd read before -- Jane Yolen's "Mama Gone", which was still lovely and poignant on a re-read (actually, more so now that I have a son, which I did not last time I read it, I think -- not that it's a major plot point, but it does seem to make a difference), though not as elegant as "Chivalry." And Orson Scott Card's "Hatrack River" appears to be simply the first chapter of Prentice Alvin, what a gyp! There was also Emma Bull's "A Bird that Whistles", which I haven't read before, but which uses a character also featured in War for the Oaks -- it was OK, but fairly anticlimactic after Oaks, even though it works well as a prequel/stafe-setting sort of thing.
Other stories I hadn't read before by authors I enjoy -- Ursula LeGuin "Bones of the Earth" (a story of Earthsea) and Ellen Kushner "Charis" (set in Bordertown, where Elves and humans co-exist in a sort-of-urban setting). The Earthsea story (which takes place some years before the Ged timeline) was typical LeGuin -- quietly told, with quiet humor overlaying deep sadness and simple joy; I find it more difficult to get into her tales these days, but they do have a certain powerful, melancholy poignancy. The "Charis" story was different (and not) from the only thing of Kushner's I've read so far (Thomas the Rhymer) -- it was a lot more ordinary (in the sense of, fairly typical fantasy) than the stories in this anthology that I liked best. I was very much in the mood for Elf intrigue, though, so the story really hit the spot -- I just wasn't that impressed with it.
As for the stories by authors I hadn't read before, they were mostly a disappointment: I really didn't like Harry Turtledove's "Not All Wolves" very much -- it was too much of a "message" piece, magical means to prove a point, which is a method I strongly dislike. Also, it just wasn't that interesting a story. Charles de Lint's "The Bone Woman" is just not my thing -- there's a reason I don't read him. Andy Duncan's "Liza and the Crazy Water Man" is not exactly my thing either (and there was quite a bit of a "message" feel to it, too), but at least it was charmingly told and I enjoyed it -- more on a human story level than on a fantasy level, though. Doyle and Macdonald's "Stealing God" (featuring the detective-type adventures of a modern-day Knight Templar) felt ridiculously front-loaded, with the denouement coming too quickly for the payoff to really be there. Also, I can't say that I found the premise, the plot, or the narrative voice particularly compelling -- parallels to The Dresden Files kept drawing themselves, and Butcher just does it better. Also, the shaggy dog ending? Boo, hiss! There was also Susan Palwick's very strange story "Jo's Hair" -- I guess she's got some kind of grudge against Little Women; I was able to follow it pretty well even having never read Little Women, but that's because it is not exactly subtle. It didn't do much for me. The only new author story I truly enjoyed was Sherwood Smith's "Mom and Dad at the Home Front" -- it got a bit too sappy in short bits, but had an interesting point of view, and a likeable narrative voice, and the narrator is an engineer who is a mother of three, an unusual enough thing to be pleasant by itself.
Terry Pratchett, Going Postal -- a new Discworld favorite! I loved Moist (except for the name.. I mean, I know that was the point, but it was just... well, I would have preferred him to be called something different). And it was a Vetinari-heavy book, which was really nice -- although he seemed a bit off there in the beginning, talking about angels. But later on the feeling of off-ness disappeared, and his interaction with Reacher Gilt (that *is* a wonderful name) was simply priceless. (And -- random digression -- the "Tyrant" line? Reminded me very much of Jack Sparrow saying, "Pirate" -- which was a very odd juxtaposition, but there you go. Thinking back over the book, the bits in between Moist's assorted crazy schemes were actually not particularly interesting, but even that works in the book's favor, really highlighting Moist's personality and effect on those around him. So, really, really liked it, and am looking forward to seeing Moist's cameos in other books. Oh, and can't wait to read Thud!, too -- probably not to the point of actually buying the hardback, but hope the library gets it soon.
Jim Butcher, Furies of Calderon -- pretty much the whole time I was reading this book, I was trying to convince myself it was by the same guy who writes the Dresden Files -- it had a very different feel, naturally, of course, being high (or alternate history type) of fantasy rather than urban noir. It did have the same engaging, fast-paced style. The magic -- elemental magical entities called furies bonded to and answering the commands of humans -- was really neat, in a cozy way, kind of like a hybrid of the kigh in Tanya Huff's (I think?) Quarter books and the daemons in His Dark Materials. My main complaint with the magic is that the waterworkers seem to powerful, with the healing/regenerative abilities, but there were all kinds of clever ways to circumscribe and limit magic, so that was good. The characters I liked best were actually the bad guys (but that might be just me), especially Aldrick ex Gladius, the mercenary (favorite line: "You aren't... you can't be... I killed you!" -- OK, so it looks cliche without context, but it worked nicely in the scene). The thing that puzzled me quite a bit is where the book left off concerning ***SPOILERY thoughts and speculations*** Tavi's identity. So it's pretty clear his father's identity is important from the conversation between... the aunt and the... other guy (this was awhile ago). And I'm pretty convinced that Tavi is short for Octavius, as in Gaius Octavius (especially as "Fidelius" got shortened to "Del"), making him the son of the prince killed in the valley and heir to the throne. But, um, is that supposed to be obvious? In which case, why leave that unresolved (for the reader, if not for Tavi himself)? Or am I completely making this stuff up?
Orson Scott Card, Shadow of the Giant -- I don't rightly know why I keep reading this series. I haven't really, truly enjoyed any one of the Shadow books -- the first one felt like a revisionist undermining of the original Ender story (messing with something I loved, in other words), and the rest were... meh. Card did a great job writing about brilliant children in a very constrained environment. Writing about brilliant adults? Not so much fun, as they all come across sounding and acting pretty much the same. Nobody stood out, nobody elicited any strong emotion (but Mazer Rackham and Graff probably come closest, in their cameos). And what he is doing with Peter... I have a hard time seeing the continuity with the boy in Ender's Game. Here's another thing that really bugged me -- Anton. This may have come up in an earlier book, too, but I must have repressed it -- he is a homosexual character (and Card's views on homosexuality are... I have a hard time deciding whether "evil" or "stupid" is the more appropriate word ). So he introduces this gay character, and then has him repudiate his nature for the glorious goal of reproduction, marry somebody and knock her up -- which he is congratulated on in this book. Just, ugh! At least keep your stupidity confined to non-fiction, already! This is especially jarring since OSC, a deeply religious person, does a generally very decent job of writing for characters who are sometimes vehemently atheistic. So, anyway, I finished the damn thing, and am glad of it.
Rosemary Kirsten, Steerswoman's Road, The Lost Steersman, and The Language of Power -- I read this in weird order, having picked up Language of Power first, not realizing it was not just another book set in a world, but a continuation of a monolithic story. Also, the dragon-spangled cover fooled me into thinking the book was fantasy, and as I read further into it, I was horrified to discover that it was what I thought to be sci-fantasy. But then I decided to start from the beginning, and picked up Steerswoman's Road -- and realized that the series was actually science fiction, which greatly placated me, because I *hate* sci-fantasy. So, starting from Steerswoman (which is my favorite book of the three), I liked the series much better. It's got likeable characters, and an interesting world that slowly emerges, through the measured pacing, and the long stretches dedicated to science -- to learning things, to figuring them out step-by-step right in front of the reader -- my science geek side really enjoyed that, as well as the fact that a lot of the time the conclusions Rowan the steerswoman reaches through careful observation and reasoning are, nevertheless, wrong. I also liked that certain little things were never explained -- like the term "seeyoh" for instance, or the rather more transparent "Krue". Or, you know, the central "mystery"/background, though that's made pretty clear in Steersman. My favorite part of the three books (which don't wrap up the story -- I don't know if there are more out there or on the way) was the description of the Outskirts and life therein -- the world-building is strongest and most vibrant there. I missed them a lot in the latter books. My main quibble was that certain action scenes went on too long -- the dragon episode in Language comes to mind, as in, get to the point already. But I definitely enjoyed these overall, and would continue reading the series.
Jim Butcher, Blood Rites -- this is #6 in The Dresden Files (about Harry Dresden, the only professional wizard in Chicago's phonebook and his noirish misadventures in saving the Chicago/the world). I missed #5 (Death Masks) apparently, and must try to remedy that, and while I'm at it, book #7 is also out (Dead Beat). While browsing the Amazon website for this info, I found the following quote: "Jim Butcher's Dresden Files novels have been compared to Harry Potter with an adult tone and attitude." I've actually thought the same thing myself -- both have a "saving people thing", and a tendency to face the ultimate evil alone, as well as a tendency to end up on the wrong side of the law/good publicity, which I guess is not so unexpected, but yeah. I can't say that anything particularly stood out about this novel -- Harry's personal history and relationships are becoming darker still and more and more convoluted, but I guess it's got to go somewhere. I liked the character of Kincaid the mercenary best (glancing above, at Furies, by the same author, perhaps there is a theme here... OK, so I have a thing for morally ambiguous (at best) big guys with a deadly skill with weapons, so sue me!) -- I guess he was introduced in #5, but I missed him there -- all the more reason to catch up.
Eoin Colfer, Artemis Fowl: The Eternity Code -- Eh... the library didn't have much else, and I'd read the first two. The thing that I noticed -- and which annoyed me -- about this one (probably a sign that I've been spending too much time browsing deleterius), is how much the other characters talk about how clever and fun and generally life-changing Artemis is. Like I said, eh...
Roger Zelazny, Nine Princes in Amber and Guns of Avalon -- I'm almost ashamed to admit I'd never read these before, but there are just too many books in the series, and any time I actually managed to figure out which order they went in, I could never find the first. So this time, when I actually located #1 and #2 at the library, I had to jump at the chance (unfortunately, it skips to #5, #6, and #8, I think, from these, so, ugh). It's funny... the series seems to be more than the sum of its parts, as the individual components are neat but not extraordinary. The central idea of Amber and Shadows, and the general way magic works is interesting but not particularly resonant to me (the way Butcher's furies or Huff's kigh are), nor mind-bendingly novel. The style is interesting, but again, neither particularly lyrical nor gripping (and what's up with the "thing" thing in the first book?). The characters (keeping in mind that this is only, what, 1/5 of the way through the story) are somewhat spare -- we are limited by Corwin's point of view, though I found myself liking Corwin quite a bit half-way through -- right around the time of the coronation. The plot is complex, and I definitely like the layers of intrigue, but, again, not so unusual. The way these things come together is something special -- the combination makes for a real mythical feel, at once grounded and detached. Anyway, I'll be trying to make my way to, and then through, the next couple of novels.
New Magics anthology, Patrick Nielsen Hayden, ed. -- this was a mix of stories and authors I've read before, and those that were new to me. I must say, my favorite of the dozen was Neil Gaiman's "Chivalry", which I have read before, in Smoke and Mirrors. It's just an exquisitely crafted tale, human and magical and funny and sad and beautiful, with not a word, not a detail out of place. Other stories I'd read before -- Jane Yolen's "Mama Gone", which was still lovely and poignant on a re-read (actually, more so now that I have a son, which I did not last time I read it, I think -- not that it's a major plot point, but it does seem to make a difference), though not as elegant as "Chivalry." And Orson Scott Card's "Hatrack River" appears to be simply the first chapter of Prentice Alvin, what a gyp! There was also Emma Bull's "A Bird that Whistles", which I haven't read before, but which uses a character also featured in War for the Oaks -- it was OK, but fairly anticlimactic after Oaks, even though it works well as a prequel/stafe-setting sort of thing.
Other stories I hadn't read before by authors I enjoy -- Ursula LeGuin "Bones of the Earth" (a story of Earthsea) and Ellen Kushner "Charis" (set in Bordertown, where Elves and humans co-exist in a sort-of-urban setting). The Earthsea story (which takes place some years before the Ged timeline) was typical LeGuin -- quietly told, with quiet humor overlaying deep sadness and simple joy; I find it more difficult to get into her tales these days, but they do have a certain powerful, melancholy poignancy. The "Charis" story was different (and not) from the only thing of Kushner's I've read so far (Thomas the Rhymer) -- it was a lot more ordinary (in the sense of, fairly typical fantasy) than the stories in this anthology that I liked best. I was very much in the mood for Elf intrigue, though, so the story really hit the spot -- I just wasn't that impressed with it.
As for the stories by authors I hadn't read before, they were mostly a disappointment: I really didn't like Harry Turtledove's "Not All Wolves" very much -- it was too much of a "message" piece, magical means to prove a point, which is a method I strongly dislike. Also, it just wasn't that interesting a story. Charles de Lint's "The Bone Woman" is just not my thing -- there's a reason I don't read him. Andy Duncan's "Liza and the Crazy Water Man" is not exactly my thing either (and there was quite a bit of a "message" feel to it, too), but at least it was charmingly told and I enjoyed it -- more on a human story level than on a fantasy level, though. Doyle and Macdonald's "Stealing God" (featuring the detective-type adventures of a modern-day Knight Templar) felt ridiculously front-loaded, with the denouement coming too quickly for the payoff to really be there. Also, I can't say that I found the premise, the plot, or the narrative voice particularly compelling -- parallels to The Dresden Files kept drawing themselves, and Butcher just does it better. Also, the shaggy dog ending? Boo, hiss! There was also Susan Palwick's very strange story "Jo's Hair" -- I guess she's got some kind of grudge against Little Women; I was able to follow it pretty well even having never read Little Women, but that's because it is not exactly subtle. It didn't do much for me. The only new author story I truly enjoyed was Sherwood Smith's "Mom and Dad at the Home Front" -- it got a bit too sappy in short bits, but had an interesting point of view, and a likeable narrative voice, and the narrator is an engineer who is a mother of three, an unusual enough thing to be pleasant by itself.