booksthatburn's Reviews (1.46k)

Many of the stories deal with blurred lines between fantasy and reality, where superstition and belief end up with their own kind of practicality. As someone with OCD who struggles with compulsions and magical thinking, these stories were deeply compelling to me. The collection is cohesive in tone while ranging through a variety of settings and many kinds of queerness. They're usually first person narratives, which wholly inhabit a different way of thinking about things in each story, all while remaining extremely accessible and evocative. 

"The Devil Lives Here" is a strong opening to the collection, establishing the overall fever-dream tone and precarious sense of existence which undergirds the rest of the stories. "The Free Orcs of Cascadia" is one of the strangest, most moving stories I’ve read in a while. It’s part narrative, part interview with an orc in a permanent LARP community. It’s a story of fighting against fascism and figuring out what it means to defend the idea of a community as well as the literal people within it. I’ll be thinking about Golfimbul for a long time. I also particularly enjoyed "Everything that Isn't Winter" and “We Who Will Destroy the Future”. Every story gave me several things to ponder, and they shook some unconscious assumptions about the bounds of what could happen in stories, how far the narratives could stretch in such a small space.

I discovered Margaret Killjoy's work through her appearances on Behind the Bastards and other podcasts (she currently hosts Cool People Who Did Cool Stuff). The focus on community and queer anarchism which is an integral part of those shows is fundamental to the stories in this collection, each in their own way. 

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

THE INNOCENT SLEEP, best read after SLEEP NO MORE, is Tybalt’s perspective on the time after Titania’s actions at the end of BE THE SERPENT. Because Tybalt has a radically different perspective than October (even more so than usual), trying to read this book first would spoil some mysteries out of turn. By necessity, as the books are a pair covering much of the time and even a few of the same scenes, some of the resolution is present in both. I love them singly and together, and am working on a long, spoiler-filled essay analyzing some of the key elements in both books.

As a sequel, this explains some things which either just happened in SLEEP NO MORE, or were only briefly explained but turn out to have quite a bit more behind them. In particular, I note that towards the end there are several sections which are only lightly narrated in SLEEP NO MORE, but which are described in THE INNOCENT SLEEP in much more detail, and vice versa, allowing each to wrap up hanging plot threads for the other. There’s a new storyline concerning several months which weren’t of note for October, but which are extremely important to Tybalt. Additionally, even once they’re mutually aware of each other, they’re not in the same place most of the time, which means almost everything Tybalt does is new information even for a reader who comes to this book after SLEEP NO MORE.

One of the challenges in parallel novels where the resolution of one by necessity spoils some elements of the other is that the story needs to still have stakes, even if the reader knows whether things will or won’t work out in a general sense. Part of how THE INNOCENT SLEEP maintains narrative tension is by addressing the perils of the Cait Sidhe in great detail, as well as Tybalt’s emotional state (much of which October only could guess at in SLEEP NO MORE). Tybalt also has contact with many more of those who retained their memories, lending an entirely different (often anxious) feeling to the story. 

This is far from the end of the story, and it leaves open the details of what will happen next for the characters (and most of the coastal inhabitants) in the wake of such traumatic events for so many. Some of them may have had their lives upended without ever knowing who was responsible or why it happened, especially the cats with mere drops of fae heritage who were nevertheless swept up in the mass removal of the Cait Sidhe to the lost places. 

With long-running series it can be tricky to figure out where new readers could jump in with minimal confusion if they didn't want to go all the way back to the beginning. As this is part of a pair of books which apparently were what the whole series is building towards (or just the beginning of the arc the series was trying to reach which had been planned from the start), answering where a reader could jump in to avoid confusion is tricky. Supposing that the answer isn't "start with the first book", someone could understand the most important parts of what is happening and have a pretty good experience if they started with WHEN SORROWS COME and proceeded from there. Everything from then proceeds pretty directly to this very traumatic time for Tybalt and everyone he loves, and skipping any steps in that final sequence would make this emotionally incomprehensible. A story about how things were suddenly changed can't make much sense without knowledge of how it was before, after all. 

I love how seamlessly this works with SLEEP NO MORE while being its own story. It manages to be unabashedly focused on Tybalt's need to get October restored, all while still having so much more going on in terms of the actual narrative. Ginevra, in particular, is shown very well here. I thought most of her relevance was in SLEEP NO MORE, but in THE INNOCENT SLEEP she's a major presence, more than just the regent for Raj.

It's taken a long time to get here, and I'm so excited for what this series holds next!

Any book which depicts changelings in the traditional sense, with children stolen from the cradle and a faerie put in their place, leaving behind a child who speaks too well, and knows too much, but has trouble adjusting to the human world... such stories must grapple with the striking similarity that this basic description has to an allistic parent seeing their autistic child and misunderstanding them or being disturbed by their existence. Rather than merely acknowledging this fantastical descriptor of what are most likely real autistic children through history, UNSEELIE embraces it, centering on an autistic, changeling protagonist. Iselia, "Seelie", is loved by her family, knows who she is, and finds herself on an adventure with her human sister after the prejudice of their neighbors forced them to leave their parents behind and start a new life. 

The story opens with a heist gone wrong forcing them to team up with a couple of people who want Seelie to help them accomplish their goals. Seelie is trying to deal with more magic than she's ever had in her life while staying focused on her goal of fixing things and getting back to their parents. Unfortunately it seems like everyone else has a different goal in mind, and eventually things come to a head. As the first book of a duology, UNSEELIE  resolve several of its major plot threads and establishes a new paradigm for the sequel to resolve. I like the main characters and I'm excited to see where the sequel goes.

I specifically enjoy books and series where nominally the same character has a transformation of mind, perception, and/or understanding of current events and their own history. While Toby has changed a great deal over the series so far, up until now most of the changes have been gradual (or, when extreme, temporary - e.g. her brief addiction to Goblin Fruit several books ago). SLEEP NO MORE, at long last, offers a very different version of October. This one is grateful to be her sister’s handmaiden, grew up with Simon Torquill as her father even though they share no blood, and knows of Amandine’s nature as Firstborn of the Dóchas Sidhe. October's memories have been rewritten, recontextualized, transformed to the point that many of the faces she ought to know best are alien to her. Entities who had been dealt with in earlier volumes are returned, rather, to her, they never left. Titania's vision of a perfect Faerie includes neither mixed bloods nor shapeshifters, let alone seers. Most immediately, it does not include the Cait Sidhe, and this version of October has never even met Tybalt. 

Because October is unaware of her real previous history, much of the book follows a new storyline which was not present in any of the earlier volumes, but which in another way is a direct continuation of the previous books. There's often much backstory that could be explained, but if every bit of the story that got us here were detailed, not only would October run from the room at the news of just how often she'd gotten hurt before, but also it would bring this story to a grinding halt. Instead, what needs to be explained is summarized for October's benefit and to aid the reader's recall. It avoids belaboring any one point to those magicked to reject that understanding of reality.

SLEEP NO MORE is a direct continuation of the cliffhanger ending in BE THE SERPENT, and it addresses October's side of Titania's illusion. It is paired with the next book, THE INNOCENT SLEEP, which follows the same basic timeframe but from Tybalt's perspective. A few specific things are mentioned towards the end that will need to be handled in later books, but chief among them will be dealing with the aftermath of these events. So many people had their personalities changed and were bound by illusions which messed with their understanding of their own history, and the trauma inflicted here will have long-lasting repercussions.

"Candles and Starlight" is the novella included at the end of SLEEP NO MORE. It follows one of the characters who retained their memories during the illusion because they were too inconvenient to be easily rewritten or put in a new role. It showcases a character who has had a large influence but hasn't yet had much of a voice.

"Candles and Starlight" is the novella included at the end of SLEEP NO MORE. It follows one of the characters who retained their memories during the illusion because they were too inconvenient to be easily rewritten or put in a new role. It showcases a character who has had a large influence but hasn't yet had much of a voice.

As the first book in the series, ITHACA tells a chapter in Penelope’s life while Odysseus is aware. It tells a complete story, then ends rather dramatically in a way that foreshadows the sequel.

One of the difficulties in embarking upon retellings of Greek myths for a modern reader is that merely trying to lay out the relevant backstory involves listing several people Zeus assaulted, and a great deal of other violence, just to say the origins of a particular hero or the parentage of a demigod. ITHACA has a refreshing and circumspect approach to this and other similar difficulties which come from delving into stories where women were generally not considered to be full persons. ITHACA aims to tells the stories of the people the poets ignored, the women and slaves who were excised from their own stories (unless relegated to paragons of virtue or warnings of catastrophe). Hera is the narrator, telling what happened while Odysseus was on Calypso's Island, indulging in passion, and Penelope is at home in Ithaca, keeping dozens of suitors at bay. She keeps them just hopeful enough to refrain from war against Ithaca to claim her hand and her husband's responsibilities. In this retelling, there’s a cleverness and frustration to Hera. She, who was the goddess of queens, made small by Zeus and the imaginations of mortal men. Squeezed into the role of the goddess of wives, stifled by the implication that wives and mothers are less than men and distinct from warriors. Instead, ITHACA slowly disrupts that status quo as Penelope shows how she is a queen in fact and in name.

Because everything is from Hera's perspective, she doesn’t know exactly what Penelope is thinking. Hera's most frequent interactions are with Athena and Artemis, as she is deliberately hiding her activities from Zeus, and any god who might carry tales to him. There’s a loneliness and a hunger in Hera, as the way she can only accomplish things while beneath Zeus's notice mirrors the way that the wives, mothers, and queens, who pray to her must conceal their cleverness. When they produce something that men like, their ingenuity is misunderstood, or assumed to have another cause. When their cleverness threatens the men, either truly or only in their minds, then the women must be stopped through social pressure or violence.

The suitors cannot believe that Penelope continues to feed so many without gold, refusing to accept that she is a shrewd tradeswoman who manages her household well. Those who press her on the matter seem to think that hidden gold is a readier explanation than competent husbandry of goats. As if feasts are made of metal and gems, the men refuse to understand that barter and bargain can produce feasts with the resources of the farms and fields.

I’m very pleased with the worldbuilding, the narrative style, the focus as shaped through Hera, and many small moments in the story. I’m very excited to read more, and I’m glad this is a series instead of a standalone book.

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

This features the next step in the Demon King's emotional life: specifically, a realization that he does have romantic feelings for the gardener, just as the many people in the first volume suspected. This is a very character-driven novel, and so there are minor developments related to many of the people around the demon king, most of which were delightful. Both books so far I’ve had a very cozy feel to them. I was pleasantly surprised by the inclusion of a new storyline related to the Elven deity in the shrine, and the introduction of snow to the demon realms. I don’t quite think anything was both introduced and resolved here, especially since each volume is so short, but this did resolve a few things from the first volume while clearly setting up for more to come in later ones. The demon king’s narration is consistent with the previous volume, and I like the choice of bonus story at the end.

The whole thing is driven by relationships, most of what actually happens is the demon king walking around in various places of the castle while thinking and talking to people. There are implications of more serious things in the background, such a certain parts of the gardener's backstory and some previous war, but the fact that demons live on a completely different time scale from humans means that even kind of urgent things have time to breathe. 

It’s going very well, and I’m excited for the next volume!

FRONTIER is a post-apocalyptic story with Wild West vibes, religious bigotry, petty tyrants, and former space soldier trying to find the person she lost.

I love the opening chapter, it sets up the book's tone in a way that is followed through very well. As the traveler moves around, trying to find something with a signal strong enough to reach space, there are a series of vignette. These snippets build a sense of people's lives in different communities and settlements and the roads in between. So many facets of their lives imply this more complicated whole, without it ever trying to be about any one of them, nor pulling attention from the traveler from space. 

The language and word choice is inseparable from the worldbuilding. There seems to be one main religion, a handful of agnostics, and as many ways to interpret the basic tenets as there are characters. The current human inhabitants of Earth are the descendants of a particular religious sect that believed some combination of the Earth being god with climate change as her punishment. These people stayed behind when humanity went to the stars. Now, heir descendants distrust anything that comes from space or is too technologically sophisticated, but what is "like space" or "too much technology" varies wildly from community to community, sheriff to sheriff, religious leader to agnostic nomad. 

I loved every page and I want there to be more. This is perfectly paced in its current length but I wish it weren't over.