booksthatburn's Reviews (1.46k)

*I received a free review copy in exchange for an honest review of this book. 

THE FOX WIFE is a story of grief and reconnection, telling a small section in the life of a fox named Snow whose child was killed for the sake of a photographer's art. 

Snow is a thoughtful narrator, relaying her contemporaneous thoughts as best as she can, but sometimes hinting at the trajectory of events that haven't quite transpired in the narrative. She is grieving her child, and leaves the grasslands to track down the photographer who desired a fox pelt as a prop for his photos. Snow's perspective is alternated with that of an amateur investigator, Bao, who has been able to sense lies ever since his nanny prayed to a fox spirit during a childhood illness of his. Contrasting with Snow's chronological telling of events, the sections following Bao connect pieces of the narrative on a thematic level. Some deal with his childhood, particularly his friendship with a courtesan's daughter. Others follow him in his twilight years, contemporaneous to Snow's telling, with a whole life and marriage behind him, using his lie-sensing abilities to solve mysteries for people. What begins as an attempt to identify a dead woman turns into a meandering quest into rumors of foxes, and one particular woman who disappeared from a walled garden. 

The worldbuilding is relayed through conversation and Snow's observations, as well as Bao's thoughts. Snow tends to explain a fox's perspective on human things a contemporaneous reader could be expected to know, which works neatly to give insights into both Snow and the historical setting. There's an attention to the ways that women and girls are restricted for the sake of men's whims. The narrative is filled with wives, concubines, courtesans, and even girl-children who are treated according to their future matrimonial prospects (or lack thereof). Even Snow is most often called a nickname based on being the third servant to work for her eventual mistress. She is wary of male foxes, as human sexism translates into easier lives for them and more danger for her if she's caught up in their schemes. 

The three narrative strands weave together to tell a complete story. I was able to figure out many connections and identities by having access to all three perspectives. Bao, the detective was usually the last one to figure out exactly what fox-related thing was happening, but that's because he doesn't know if transforming foxes (like Snow) are real. Snow, for her part, isn't ready to talk about the more painful aspects of her recent history, so the reader must piece together what happened before the book started by combining what Bao finds with what Snow tells of foxes. It had a mystery feel without being an outright whodunnit for the reader. 

I know a book is great when it heavily features a theme I dislike or personally don't relate to but I love it anyway. Anyone who can make me love a book about being a grieving mother has done something very special. It handles this topic with care, gradually saying more of what happened to her child as Snow is able to process her grief. I was drawn back to it, finishing it in less than a week as I needed to know what would happen next. A third of the way in there was a plot point that in other books would have been wrapping things up, but instead the narrative blossomed in unexpected and very welcome ways. I would happily read more with Snow (or any other foxes) if the opportunity presented itself, but this story feels complete and is very satisfying. 

Having heard for years that the book "I Am Legend" is much better than the movie (which I liked), I tried the book.
Holy crap, that was a quick DNF. The (cis, white, male) protagonist's main complaint about maybe being the last human is how it made him involuntarily celibate. Written in the 1950's, this has not aged well. Also, his reaction to vampire babes moaning sexily outside his window is to be upset about how much he wants to but can't/shouldn't fuck them. I like sexy vampires. I like unsexy vampires. I do not care for man complaining that sexy vampires are a trap.  I stopped after the weird thought exercise about whether vampires are worse than the mothers of politicians and arms manufacturers, distillers, and pornographers. 
The one thing I will grant it is that the audiobook narrator did a great job, their narration reinforced the trapped feeling of his perspective, how much he focuses his thoughts on emotionally safe pathways (for him), and tries to avoid his distress. Unfortunately those pathways are sexist as fuck. 

There were constant infodumps as worldbuilding, and I didn't like the style.

I might try this again later, but I paused and then forgot to go back to it.

IMMORTAL LONGINGS builds a claustrophobic sense of place, with densely packed buildings and strangers everywhere. The mechanics of jumping are used excellently, and explained enough to allow for a pretty cool late-book reveal. It plays with the tension between this culture of literally disposable bodies and Calla's refusal to jump. Rather than one's physical form, Qi (a person's essence) is the durable part of who they are, and it's possible to jump one's Qi into another body, taking it over either temporarily or permanently. Some people's birth bodies are lost, and they continually jump between bodies, others jump temporarily and then return to their own body. Many citizens can't jump at all, and run the risk of having their bodies used by jumpers at random. I like the way the jumping is explained and used, and if I keep reading the series it will be to see how jumping is used once the games are over. 

One of the things with showing relationship chemistry in a narrative on the basis of past events between characters is that it can leave some readers feeling like the characters aren't grounded enough or their relationships don't fully make sense. I, in particular, know that I have trouble with this as a reader. I don't have an imagination filling in the gaps and wondering what tension could have led to this moment. I read how it plays out in the book right now and I either have enough detail or it just falls flat for me. This didn't work as well for me as the similarly antagonistic/romantic relationship between Juliette and Roma in THESE VIOLENT DELIGHTS because once IMMORTAL LONGINGS BEGINS, Anton and Calla don't really do much to harm each other's aims until very late in the book. They're set up so that at some point they will no longer both be able to get what they want, but since that point is when dozens of other people have been eliminated it can be far away for a long time. When combined with the reveal at the very end, it means I finished the book a bit confused and not sure whether it worked well for me personally. It leans even more into this narrative style which the Secret Shanghai books also have, but the way it's refined here took it out of my comfort zone. 

I've seen a lot of comparisons between Immortal Longings and The Hunger Games. This is both slightly true and mostly unhelpful as a generalization, as what they have in common are either superficial genre features or not unique to The Hunger Games. I understand why the comparison occurs to people so I'd like to take it seriously, that will be covered at length in an upcoming essay.

If you like books where things are left more mysterious and many people have hidden plans, you'll probably like this. It wasn't quite my style, I prefer the Secret Shanghai books.

ANCILLARY JUSTICE is a story of slow burn revenge by a segment of a colonial empire against its leader. It deals with personhood, gendered language, and sliding scales of ethics in colonial forces. It doesn't propose to have obvious or easy answers to any of these questions, but it excels in coming at them sideways. One of the most obvious elements of this is the way the protagonist engages with gendered language. Her first language doesn't use gendered pronouns, so she defaults to "she" (or that language's equivalent) for everyone, unless she is specifically told another gender reference. At minimum, for someone like myself reading in English it creates the impression of a world filled with women, even if they're not. Her constant misgendering marks her as an outsider even to those who don't know she's an Ancillary. As a physical extension of a spaceship's AI, put into human bodies for seamless operation, the nature of her existence is the subject of many discussions about slavery, autonomy, and personhood. Each of her bodies had a history before they became part of her, and she is uninterested in anyone's attempts to kill her in order to get that person back. This seems like the kind of thing later books might explore more, but the foundations are laid for now with various debates and conversations as to exactly what kind of colonial forces are to be preferred: one where bodies are replaced with ancillaries of a ship (effectively killing them), or one where individual humans are left their own personalities and might engage in assault of various kinds against the people in their charge. Is the soldier who has already been killed better than the one who will randomly rape the populace? The answer of stopping colonization altogether has already occurred to someone, to be sure, but this is a story where changes take time, and the last body of a several-thousand-year-old ship is content to set up the pieces of her revenge slowly. 

I enjoyed this and I'm very interested in where things go from here. I like the questions raised nearly as much as I appreciate not being given trite answers. 

Finishing out the trilogy, A POWER UNBOUND finally provides answers as to why Lord Hawthorn (Jack) lost his magic and his sister all those years ago. It wraps up the mysteries around the Last Contract, and while it doesn't contain any wholly new storylines, that's much less crucial for the end of a series. The way it approaches Jack and Alan's relationship it almost sufficient to stand on its own if necessary, though several delightful aspects (such as their first meeting and Alan's selling of pornography) are show in A RESTLESS TRUTH. Most aspects of Alan's life are introduced for the first time, as well as the specifics of Jack's. It's a strange balance that lets many details feel completely new even though the main characters and their current situation were set up in first two books. I've been hoping Jack would be a protagonist since he was first introduced as Lord Hawthorne in A MARVELLOUS LIGHT, so I was absolutely delighted to get my wish at last. They're very different narrators from any of the others, somehow continuing the pattern of one person having magic and the other not, but in a way I wasn't expecting. 

The first chapter cements George as not only the detestable and power-hungry person shown into the earlier books, but truly vicious and uncaring in pursuit of his aims. There's something extra terrible in the way he destroyed Elsie and Jack's lives and then was so concerned with hiding what he'd done that he laid a secret-bind on both of them and didn't give a shit what became of them afterwards. Now, with a trail of the dead in George's wake, Jack and his strange new group of friends have one last chance to stop him once and for all.

Much of the magical worldbuilding was set up in the first two books, but there's a focus on class dynamics which is made possible by Alan's perspective when juxtaposed with the richer and titled members of the group. For all the Blythe's money troubles, they're on a vastly different scale than whether Alan's family will starve due to accident or injury. That perspective helps make obvious that the Last Contract was meant to accomplish something it's no longer really doing, and enables the group to come up with new solutions as things spin wildly out of control. 

A POWER UNBOUND is (somehow) even sexier that A MARVELLOUS LIGHT and A RESTLESS TRUTH, or maybe this is just a sign that my tastes run closer to Alan's than any of the previous protagonists. Good sex scenes provide character development in addition to titillation. Great sex scenes are so seamlessly a part of character development that to skip them would be to miss something crucial, fervent, and deeply personal about the characters involved. Jack and Alan's relationship is one of playing with power dynamics and trusting that the other person won't cross any lines, that fantasies made flesh are a wonderful kind of vulnerability, and that consent can be withdrawn mid-scene. They get the thrill of fighting without being in true danger, though it takes a while for Alan to be sure enough of Lord Hawthorne that he can accept this vulnerability with Jack. For his part, Jack is enjoying the extra level of intimacy which comes from having unknowingly read Alan's work for years, now able to use that knowledge erotically and to devastating effect. 

A POWER UNBOUND is a satisfying ending to a great trilogy. The epilogue is a perfect snapshot of everyone, I cackled at Alan's attempt at an interview after the big event. I'm eager for whatever Freya Marske writes next. 

A FRAGILE ENCHANTMENT is an emotional story of complicated paths to happiness, featuring a seamstress who falls in love with the prince whose wedding clothes she's designing. With much to prove and everything to lose, Niamh tries to hide her feelings in order to not make a volatile political situation even worse by upending the upcoming wedding. But, as they spend more and more time together, her feelings become impossible to hide, and his protectiveness is starting to include her wellbeing. 

The worldbuilding is excellent, working with the characterization to set up a fantasy version of regency England (Avaland), complete with a magic-fueled but no less terrible history with fantasy Ireland (Machland), including calling out this fictional version of the potato blight and contributing policies as genocide. One of the core tensions in the book is that Kit's brother and current regent, Jack, is ignoring the frustrated calls for better treatment and redress of concerns from the Machlish. Niamh is a Machlishwoman, invited to Avaland for her magic and skills as a seamstress. She finds herself falling in love with Kit when she's supposed to be making the clothes for his wedding and the formal appearances leading up to the bit event. Rosa, his betrothed (from what I'm pretty sure is fantasy Catalan or perhaps Spain), is as personally uninterested in the wedding as Kit is, but they are both going through with the political union for the sake of others. This leads to a very fun narrative space where Niamh is trying to navigate her feelings for Kit, but isn't automatically breaking someone else's heart in pursuing her own happiness. The mysterious gossip columnist, on the other hand, keeps having something to say about it, driving the threats of scandal even if the parties directly involved don't see it that way.

I love Kit and Niamh's chemistry. I'm a sucker for most variants of grumpy/sunshine, and especially for brooding (masc) characters who get pulled out of their shell, and this one is excellent. As the story unfolds, Kit's initial combativeness and disdain makes much more sense. I laughed and laughed when I got to the part with the very first item Niamh made for Kit. It's such a fantastic bit of characterization and plot, just the idea of that coat as his first real introduction to her skill in a public-facing setting. They've both become used to putting aside their own wants and needs in order to sacrifice for others, but each of them has been going about it in different ways. Kit has been floundering and frustrated because none of his direct attempts make it through to his brother and he's oscillating between desperately trying and abandoning all hope. Niamh is using up her time and body by being reckless with her energy when she has a hereditary chronic illness which will eventually turn terminal. They've both been trading pieces of themselves to help other people, and their relationship is the first positive and selfish thing either of them has attempted in a long while. 

I'm very pleased with the ending, it's even better than I could have hoped for and more than any of the characters dared to dream. I'm looking forward to what this author does next.

I enjoyed this overall, I didn't see the twist coming, and I think the romance was underdeveloped. I'm too demisexual to vibe with romances where they just click without really getting to know each other on more than a repeated proximity level.

Most of the major characters are related to each other, which means the options for romance are limited. The one that’s chosen is between Esmae and the cousin who was adopted into the family. Given that this is a retelling of a much older story, it seems like any hints of incest are from that source material. To any readers who aren’t interested in a romance between cousins where one of them is adopted, this isn’t going to be the series for you. I don’t mind it, it makes sense in the story, especially since her best friend isn’t written as a romantic interest at all, and has a very specific narrative trajectory that was sent doesn’t lend itself well to being the love interest.

The worldbuilding is well done, I like how everything's in space, on different planets and ships. There’s enough detail to make it feel like a different place, but it doesn’t get bogged down in the minutia of life in space. The balance is handled really well, which is important to help keep it feeling like this epic that uses outer space, rather than an epic that is completely about space. As the first book in a series, this resolves a prophecy which was teased early on and then stated explicitly partway through. It changes the state of play, and makes it clear that the next book will involve much more war.