One day when out skiing, Sonya's scarf is stolen by a flying snow spirit. She chases it deep into the forest and breaks a ski after a reckless jump. Lost without supplies in the dead of winter, Sonya follows the faint trail of light and finds an impossible palace inhabited by one sleeping fire spirit, Kyra. Kyra's home was once bright, full of life and community. Now it is derelict and crumbling, under attack by the forces of ice. This is a slim story, fairytale-like. I wanted a little more from the plot, given the book's length; but the pages are stunning. Everything from the character movement, background designs, color choices, to dynamic panel layouts impressed me. I know I'll be looking through this book again in the future when I need some visual inspiration. 

Lamya H weaves together memoir with stories from the Quran, introspection on prophets, myths, histories, and alternate readings, into a compelling whole. As a gender-nonconforming baby queer, Lamya struggled under the oppressive roles and limited options available to them in the Arab speaking country to which their parents moved for work in their childhood. But a lightning strike of realization in a Quran study class- that Maryam could also be read as a depressed lesbian- fed Lamya's imagination with new possibility. Lamya moved to the United States for college and grad school, navigating new friendships with other liberal Muslims and new prejudices against brown bodies, especially bodies wearing hijab. One compelling chapter outlines the nightmare of bureaucratic hoops that need to be jumped through to renew student and work visas; the author compares choosing to stay in the US to staying in an abusive relationship. But Lamya fell for New York City, and for the family, chosen, queer, and blood, that they collected over the years. I really appreciated this book for offering a perspective I'd never read before, and for its fierce insistence that one can absolutely be both Muslim and queer. 

Seventeen year old Valerie wishes she could pick up any book at the library without fear, wishes she could pick her own clothes, wishes she was allowed to hang out unsupervised with friends, watch movies, or just spend time on the internet. But her family is part of a very extreme Christian community which home schools their children, limits the media they are allowed to access, controls their movement, wardrobes, and social lives. Valerie is expected to join family Bible studies daily, volunteer at the Church, and marry a boy in the community shortly after her eighteenth birthday. She isn't excited about any of this- in fact, she spends much of her time daydreaming or bored nearly to tears- but what else can she do? Then she finds a queer book with a fairly nondescript cover at the library. And a new girl- a girl with short hair, a girl who wears jeans- joins the Church. Valerie is captivated. The new girl represents a window into freedom and Valerie wants as much of that freedom as she can hold. I have some critiques about how this book ended, but I'm also very aware that I am not part of its target audience. Hopefully this book will find its way into the hands of teens who need it. 

Four women arrive on a jungle planet via spaceship with a mission to create a school and educate/tame the indigenous species of beings there. Like most colonizers, they think they are doing something good by bringing the light of civilization into the supposed darkness of the wilderness. Like most colonizers, they completely fail to understand the people they have come in contact with the project ends in devastating violence. The art in this book is extremely elegant, with powerful black and white design and pattern work illustrating a believable alien world. If you've ever read The Sparrow by Mary Doria Russell, this is story has some similarities in tone and theme but much shorter and more condensed, as necessitated by the comics format. It's not a hopeful or kind story, but I thought it was executed extremely well. 

McGregor turns the film Jurassic Park over in their hands, like a piece of amber, to examine it from all sides and finds a story packed with possibilities of liberatory, queer, and feminist readings. From thoughts on the monstrous feminine, reproductive control, missing mothers, and found family, this text weaves together a rich tapestry of threads. I completely understand now why this film (which I half-watched once at a distracting party, but now want to revisit) has becomes such an enduring classic. The ending note advocates for the building of networks of mutual aid and care during and after apocalypse, something I need more and more desperately in this damaged world. 

I appreciated so deeply how this series represented artists wrestling with their creative practices. Some draw steadily for years, with a similar quality level of work. Others struggle with writers block, family tragedies, self esteem, rough deadlines, with falling out of love with their stories, or their editors, or the time commitment of being a full time author. This series also shows how a patient and support editor can absolutely made an artists career- or how the lack of one can destroy it. This is such a human slice-of-life story, and I liked its open but hopeful ending. 

This is an extremely sweet and delightfully illustrated sapphic romance, which only partly hinges on a misunderstanding as the main conflict. Momo is a shy college freshman, a rule follower, a hard worker who didn't date or party at all in high school. She runs into PG, seemingly mid-hookup with a friend of a friend who claimed to be too sick to come to class. After that first encounter, Momo seems to see PG everywhere, and each time with a different girl. Clearly, PG is a player and also in a completely different league than Momo. Except, when a cautious new friendship begins to develop between them, PG seems unfailing chivalrous and polite. Which is the real PG? And how much trouble will Momo get into if she lets her feelings become something more? I really enjoyed the bright color palette and confident line art. 

Marlowe is a smart teen who happens to get into a spot of trouble with some accidental arson while on a date with the girl of her dreams, and then runs away to an absurd summer job on one of the thousand islands on the St Lawrence River. Marlowe joins a group of five other teens who already all know each other to serve as a tour guide for Morning House, the mansion of a rich doctor and eugenicist who summered with his seven children on the island in the 1920s- that is, until two of them died there. And the island has seen another death, more recently. Marlowe didn't show up to solve crimes, but if she wants to make it home at the end of the summer, she'll have to. Similar in tone to the Truly Devious series, this book was a very easy and fun listen. I wish the eugenics thread had either been cut, or better developed, but Marlowe is a delightful character to follow and if this book gets a sequel I will definitely listen to it. 

Shiozawa continues to attempt to build a collection of artists for a new manga magazine. He visits old friends, writers whose talent he's loved for years. Some of them have retired from the business. Some are busier than ever. Some love the direction their work has gone since Shiozawa last saw them; others believe their work has become soulless and commercial. I love how the authors are portrayed as unique, flawed humans with human histories. They have families, disabilities, insecurities, dreams. We meet Chosaku's  ex-wife and daughter on a weekend visit. Hayashi continues to struggle with her main artist, Aoki, who struggles with insomnia and flees back to his hometown. Creating manga is depicted as half a calling, half an affliction. 

This has been on my to-read list ever since it came out, and I finally picked it up. This book is an honest, sometimes painfully honest, accounting of Elliot Page's life up until his decision to come out as trans. He grew up in Canada, the child of divorced parents, with a hostile step-mother, an emotionally manipulative father, and overworked mother who initially did not accept his queerness. He started acting in elementary school and found it a freeing creative outlet, even when he hated the overly-girly clothing the roles often forced him into. Like many people who start in the film industry very young, he was taken advantage of sexually by adults who should have kept him safe. These experiences are written about less graphically than the blistering gender dysphoria and numbing disassociation that followed Elliot from his teens into his twenties. He threw himself into movie projects and love affairs, running away from a secret that nearly ate him alive. I'm so grateful that was eventually able to come out, because it really sounds like staying in the closet might have killed him. This book is not written chronologically; chapters center on themes, projects, or relationships. I understand that choice while also wishing that more of then teen chapters had been placed earlier in the book- sometimes the way the book kept slipping backwards in time felt a time bit repetitive. But it also felt honest to the experience of someone who kept backsliding in his ability to be honest with himself, until hitting the rock bottom of mental health, when there was no other choice but to be true.