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jessicaxmaria 's review for:
Black Leopard, Red Wolf
by Marlon James
This was the first time I've read a book in print and halfway through sought-out the audiobook. I believe I did this initially because the (beautiful) hardcover was so heavy in my bag on my commute; but I found that the brilliant narration enhanced my comprehension and enjoyment of the story.
The story is dark. It is narrated by a man named Tracker who lives in a land of shape-shifters, witches, horrifying creatures, terrifying people, and—most of all—violence. He has been tasked with his expert sense of smell to find a missing child who is important for unknown reasons at the start. The first line of the book is: "The child is dead."
There are moments of humor, where I found myself laughing out loud, usually at Tracker's expense. There are also moments in which I darkened at Tracker's misogyny, called out by other characters though it was. It was a bit difficult, specifically for me, to be in Tracker's mindset for the duration of the novel. I am still not convinced, but I know that to be my perspective, and something that often kept me from returning to the book when I set it aside.
The most interesting scenes in the book revolved around Tracker's relationships to others—to a group of orphaned children, to the titular Leopard, to Mossi (a favorite of mine), and to transformation itself. James also depicts scenes of love, lust, and sex between black men, something rarely written in epic fantasies. When I saw James speak on a panel about 'Decolonized Epics,' he mentioned how he plays with language to break rules, and his genius in that regard is definitely on display here. There are moments I was utterly lost, but once I stopped questioning, and let James' rhythm and cadence take hold, I was immersed.
Beyond the book's treatment of women, my other criticism lies in the world-building—or lack thereof. The settings of BL,RW are mapped (which is necessary to the reading: the character list and maps!), but the foundations are shaky. It's a world built on violence, but without much 'why' attending to the story. There is little nuance to be found with a world not fully rendered.
So: I liked it enough. I'd definitely urge you to try the audiobook--the book is already narrated in the oral tradition, and James has remarked on how good the audio is. Dion Graham literally sings! He also expertly narrated WASHINGTON BLACK, which I listened to last year.
The story is dark. It is narrated by a man named Tracker who lives in a land of shape-shifters, witches, horrifying creatures, terrifying people, and—most of all—violence. He has been tasked with his expert sense of smell to find a missing child who is important for unknown reasons at the start. The first line of the book is: "The child is dead."
There are moments of humor, where I found myself laughing out loud, usually at Tracker's expense. There are also moments in which I darkened at Tracker's misogyny, called out by other characters though it was. It was a bit difficult, specifically for me, to be in Tracker's mindset for the duration of the novel. I am still not convinced, but I know that to be my perspective, and something that often kept me from returning to the book when I set it aside.
The most interesting scenes in the book revolved around Tracker's relationships to others—to a group of orphaned children, to the titular Leopard, to Mossi (a favorite of mine), and to transformation itself. James also depicts scenes of love, lust, and sex between black men, something rarely written in epic fantasies. When I saw James speak on a panel about 'Decolonized Epics,' he mentioned how he plays with language to break rules, and his genius in that regard is definitely on display here. There are moments I was utterly lost, but once I stopped questioning, and let James' rhythm and cadence take hold, I was immersed.
Beyond the book's treatment of women, my other criticism lies in the world-building—or lack thereof. The settings of BL,RW are mapped (which is necessary to the reading: the character list and maps!), but the foundations are shaky. It's a world built on violence, but without much 'why' attending to the story. There is little nuance to be found with a world not fully rendered.
So: I liked it enough. I'd definitely urge you to try the audiobook--the book is already narrated in the oral tradition, and James has remarked on how good the audio is. Dion Graham literally sings! He also expertly narrated WASHINGTON BLACK, which I listened to last year.