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ambershelf's Reviews (1.3k)
Thank you to Berkley for the gifted copy & Libro.fm for the ALC
1840s Mexico. Nena is the daughter of a wealthy rancher resisting increasingly aggressive Anglo settlers from the north. But something more sinister lurks in the dark—something that once attacked Nena 9 years ago and caused irreparable damage to her friendship with Néstor.
Cañas expertly weaves Mexico's history, women fighting against patriarchy, and the struggles between land owners & laborers in the 19th century. I enjoyed the eerie but not too scary vibes in VAMPIRES and adored Cañas' world-building.
The narrative alternates between Nena and Néstor's POV, and can veer YA because Nena is a bit annoying at times
1840s Mexico. Nena is the daughter of a wealthy rancher resisting increasingly aggressive Anglo settlers from the north. But something more sinister lurks in the dark—something that once attacked Nena 9 years ago and caused irreparable damage to her friendship with Néstor.
Cañas expertly weaves Mexico's history, women fighting against patriarchy, and the struggles between land owners & laborers in the 19th century. I enjoyed the eerie but not too scary vibes in VAMPIRES and adored Cañas' world-building.
The narrative alternates between Nena and Néstor's POV, and can veer YA because Nena is a bit annoying at times
Thanks to FSG & NetGalley for the gifted eARC
A young man tends to a dying soul in the desert in a place called the Palace. As Juan waits for his end, he and the narrator exchange stories—memories of their youth surrounding love, joy, and family.
In this trailblazing work, Torres emphasizes the importance of own-voice storytelling and brilliantly reclaims queer history through "editing" published texts & images. The use of layered narration is another standout in BLACKOUTS. There are moments when the inner-most narrative refers back to the outer-most storyline, and I find myself absolutely mindblown by Torres' brilliance.
To read BLACKOUTS is less like reading but more similar to admiring an ingenious artwork. BLACKOUTS is experimental, unique in its style, and requires some big brain energy from the readers. I loved it, but stylistically, it will be a hit or miss for readers.
A young man tends to a dying soul in the desert in a place called the Palace. As Juan waits for his end, he and the narrator exchange stories—memories of their youth surrounding love, joy, and family.
In this trailblazing work, Torres emphasizes the importance of own-voice storytelling and brilliantly reclaims queer history through "editing" published texts & images. The use of layered narration is another standout in BLACKOUTS. There are moments when the inner-most narrative refers back to the outer-most storyline, and I find myself absolutely mindblown by Torres' brilliance.
To read BLACKOUTS is less like reading but more similar to admiring an ingenious artwork. BLACKOUTS is experimental, unique in its style, and requires some big brain energy from the readers. I loved it, but stylistically, it will be a hit or miss for readers.
Ponyboy is trans, in a messy love triangle, and addicted to drugs. Caught in the loneliness of being denied of who he is and wading through self-doubt/denial of his identity, Ponyboy must find what it means to be trans & "masculine" before everything is too late.
I adore the exploration of transgender, queerness, sexual orientation, and identity in PONYBOY—especially the scenes where Ponyboy faces transphobia from "his own" LGBTQ+ community. Duncan raises the question of solidarity with other cis-gendered individuals and examines our deeply rooted inability/unwillingness to separate sexual identity from orientation.
Nonetheless, the overwritten narrative and tangential metaphors overshadow the core message, and I wonder if Duncan's messages could've been more impactful with more straightforward writing. I personally prefer the direct styles of DETRANSITION, BABY (Torrey Peters), NEVADA (Imogen Binnie), PEOPLE COLLIDE (Isle McElroy), and FELIX EVER AFTER (Kacen Callender), allowing for a clearer understanding of the subject matter.
I adore the exploration of transgender, queerness, sexual orientation, and identity in PONYBOY—especially the scenes where Ponyboy faces transphobia from "his own" LGBTQ+ community. Duncan raises the question of solidarity with other cis-gendered individuals and examines our deeply rooted inability/unwillingness to separate sexual identity from orientation.
Nonetheless, the overwritten narrative and tangential metaphors overshadow the core message, and I wonder if Duncan's messages could've been more impactful with more straightforward writing. I personally prefer the direct styles of DETRANSITION, BABY (Torrey Peters), NEVADA (Imogen Binnie), PEOPLE COLLIDE (Isle McElroy), and FELIX EVER AFTER (Kacen Callender), allowing for a clearer understanding of the subject matter.
In this powerful memoir/essay, Tobar explores what it means to be "Latino" in the 21st century. Blending the US/Mexico history, Tobar's personal experience, and stories from his students & interviewees, MIGRANT SOULS decodes the racial and ethnic identity underlying the Latino/x community and reimagines the power & hopes of Latinidad.
While there are many things to love in MIGRANT SOULS, from the interrogation of colonialism that informs the historical context of "Latin America" to the pervasiveness of colorism that leads to the erasure of indigenous identity, Tobar doesn't shy away from the brutalities of the past and our complicities in erasing Latino labor in modern-day America.
I was expecting a more intimate & detailed account of Tobar's life, but I took away so much more than personal accounts. MIGRANT SOULS doesn't just examine how the US disenfranchises, exploits, and murders Latino communities. More importantly, it also empowers the readers to celebrate Latino dreams & joys, challenges the different ways one can be "Latino," and encourages solidarity by drawing upon stories from other communities—Black, Jewish, and Asian alike.
MIGRANT SOULS is the 2023 nonfiction winner of the Kirkus Award and an essential read for those wishing to engage more critically with how we define race & ethnicity.
While there are many things to love in MIGRANT SOULS, from the interrogation of colonialism that informs the historical context of "Latin America" to the pervasiveness of colorism that leads to the erasure of indigenous identity, Tobar doesn't shy away from the brutalities of the past and our complicities in erasing Latino labor in modern-day America.
I was expecting a more intimate & detailed account of Tobar's life, but I took away so much more than personal accounts. MIGRANT SOULS doesn't just examine how the US disenfranchises, exploits, and murders Latino communities. More importantly, it also empowers the readers to celebrate Latino dreams & joys, challenges the different ways one can be "Latino," and encourages solidarity by drawing upon stories from other communities—Black, Jewish, and Asian alike.
MIGRANT SOULS is the 2023 nonfiction winner of the Kirkus Award and an essential read for those wishing to engage more critically with how we define race & ethnicity.
Thank you to Grand Central for the gifted copy
In this unflinching memoir/manifesto, Campoverdi shares her experiences as a child on welfare, attending Harvard, becoming an aide to President Obama, and running for the US Congress.
Written with candor and heart, Campoverdi details what it means to be the "first and only"—the first in the family to attend college/grad school and the only BIPOC woman in the room at work. I particularly appreciated her pointing out that college programs for first-gen students focus on resume building and academics but forget to prepare them for the vast socioeconomic disparities they'll experience in higher education and professional spaces, likely contributing to a higher dropout rate on top of insufficient scholarships.
Campoverdi also examines how the oldest first-gen children are often tasked with parents' responsibilities that could harm the child's well-being. In her case, Campoverdi shares that she battled anxiety growing up and her journey to healing & finding peace with her past.
FIRST GEN is a powerful work celebrating our generational inheritance—especially from the fearless women in our lives—and a manifesto to reclaim our lost selves.
In this unflinching memoir/manifesto, Campoverdi shares her experiences as a child on welfare, attending Harvard, becoming an aide to President Obama, and running for the US Congress.
Written with candor and heart, Campoverdi details what it means to be the "first and only"—the first in the family to attend college/grad school and the only BIPOC woman in the room at work. I particularly appreciated her pointing out that college programs for first-gen students focus on resume building and academics but forget to prepare them for the vast socioeconomic disparities they'll experience in higher education and professional spaces, likely contributing to a higher dropout rate on top of insufficient scholarships.
Campoverdi also examines how the oldest first-gen children are often tasked with parents' responsibilities that could harm the child's well-being. In her case, Campoverdi shares that she battled anxiety growing up and her journey to healing & finding peace with her past.
FIRST GEN is a powerful work celebrating our generational inheritance—especially from the fearless women in our lives—and a manifesto to reclaim our lost selves.
Thank you to partner @bibliolifestyle & Williammorrow Books for the #gifted copy.
Jasmine Yang arrives on a secret mission in New York City from her rural Chinese village. But with her past ghosts on her tail and money running out, Jasmine turns to desperate measures in the hopes of searching for what she's looking for. Meanwhile, publishing executive Rebecca Whitney has the perfect life until a work scandal threatens to ruin her career and upend her marriage. How will Jasmine and Rebecca's lives intertwine?
LEFTOVER WOMAN is a fast-paced thriller that touches upon topics of immigration, adoption, poverty, racism, and misogyny, albeit more superficially. With the narrative unfolding swiftly, I welcomed LEFTOVER WOMAN as an escape at a time when I was sandwiched between extremely heavy reads. The immersive writing and captivating plot compelled me to finish this book within 24 hours.
However, my reading experience was also tinged with discomfort due to the explicit portrayal of racism, where the white characters didn't take accountability. Instead, their actions were merely a plot device to justify the twists. Don't get me wrong, the twists are entertaining and brilliant, but I wonder who the intended audiences are for when a story is blatantly callous about the treatment of women of color.
Most importantly, the abrupt ending somewhat detracted from the overall impact of the LEFTOVER WOMAN. An additional 30 pages might have allowed for more comprehensive character development while tying loose ends.
Ultimately, LEFTOVER WOMAN is a book that caters to those seeking a quick-paced thriller without a deep dive into complex socio-cultural issues. If you can overlook the unresolved racism, and you're not looking for a profound exploration of themes like adoption/white feminism, LEFTOVER WOMAN is an entertaining read.
Jasmine Yang arrives on a secret mission in New York City from her rural Chinese village. But with her past ghosts on her tail and money running out, Jasmine turns to desperate measures in the hopes of searching for what she's looking for. Meanwhile, publishing executive Rebecca Whitney has the perfect life until a work scandal threatens to ruin her career and upend her marriage. How will Jasmine and Rebecca's lives intertwine?
LEFTOVER WOMAN is a fast-paced thriller that touches upon topics of immigration, adoption, poverty, racism, and misogyny, albeit more superficially. With the narrative unfolding swiftly, I welcomed LEFTOVER WOMAN as an escape at a time when I was sandwiched between extremely heavy reads. The immersive writing and captivating plot compelled me to finish this book within 24 hours.
However, my reading experience was also tinged with discomfort due to the explicit portrayal of racism, where the white characters didn't take accountability. Instead, their actions were merely a plot device to justify the twists. Don't get me wrong, the twists are entertaining and brilliant, but I wonder who the intended audiences are for when a story is blatantly callous about the treatment of women of color.
Most importantly, the abrupt ending somewhat detracted from the overall impact of the LEFTOVER WOMAN. An additional 30 pages might have allowed for more comprehensive character development while tying loose ends.
Ultimately, LEFTOVER WOMAN is a book that caters to those seeking a quick-paced thriller without a deep dive into complex socio-cultural issues. If you can overlook the unresolved racism, and you're not looking for a profound exploration of themes like adoption/white feminism, LEFTOVER WOMAN is an entertaining read.
1. A straight woman writing as a gay man
2. As someone who’s primary language is Mandarin, this book makes me doubt I even know Chinese. The sentences are so polished their meanings are completely lost to me
3. Remember in THE DAY AFTER TOMORROW when people were burning library books to keep warm? This book just moved to the top of my potential fuel for climate change list
2. As someone who’s primary language is Mandarin, this book makes me doubt I even know Chinese. The sentences are so polished their meanings are completely lost to me
3. Remember in THE DAY AFTER TOMORROW when people were burning library books to keep warm? This book just moved to the top of my potential fuel for climate change list