rachelmanija: (Books: old)
rachelmanija ([personal profile] rachelmanija) wrote2025-08-08 02:15 pm

Super Boba Cafe # 1, by Nidhi Chanani



A middle-grade graphic novel about a boba shop with a secret.

Aria comes to stay with her grandmother in San Francisco for the summer to escape a bad social situation. Her grandmother owns a boba shop that doesn't seem too popular, and Aria throws herself into making it more so - most successfully when Grandma's cat Bao has eight kittens, and Aria advertises it as a kitten cafe. But why is Grandma so adamant about never letting Aria set foot in the kitchen, and kicking out the customers at 6:00 on the dot? Why do the prairie dogs in the backyard seem so smart?

This graphic novel has absolutely adorable illustrations. The story isn't as strong. The first half is mostly a realistic, gentle, cozy slice of life. The second half is a fantasy adventure with light horror aspects. Even though the latter is throughly foreshadowed in the former, it still feels kind of like two books jammed together.

My larger issue was with tone and content that also felt jammed together. The book is somewhat didactic - which is fine, especially in a middle-grade book - but I feel like if the book is teaching lessons, it should teach them consistently and appropriately. The lessons in this book were a bit off or inconsistent, creating an uncanny valley feeling.

Spoilers! Read more... )

Fantastic art, kind of odd story.
sovay: (Rotwang)
sovay ([personal profile] sovay) wrote2025-08-08 07:40 am

Hope and anger in the ink and on the streets

It feels like such a cheaply sentimental connection that I must not have allowed myself to see it for years, but the first film of any lasting meaning that I saw after the dislocating and disposessing move from New Haven which marked the end of my academic career and with it the whole pattern of my life to date was A Canterbury Tale (1944), that touchstone of continuity and exile. I got up in the morning to watch it off TCM. It gave me déjà vu as if I remembered some of its strongest, strangest images, even though it seemed after the fact impossible that I should have had any previous chance to see it. It was my introduction to Powell and Pressburger and I immediately set about tracking down as many of their films as were available in my country as I had never done with any filmmakers before—I could explain it as finding something to study after suddenly having for the first time in twenty-odd years nothing assigned, but then I could have dedicated myself to just about anything encountered in those three-ish weeks including for God's sake M*A*S*H. I had just written the most Christian poem of my Jewish life and so was perhaps more than ordinarily primed to accept Emeric's cathedral. I had forgotten that the only time in my life I was in Canterbury, I had written about its layers of time, Roman roads, the scars of the Blitz, I had linked it with the archaeological eternity of DWJ's Time City. I could have imprinted on any of the characters with their griefs and doubts of lovers and livelihoods and I went straight for Colpeper, the sticky-fingered magus in his panic of losing the past, his head so far up his home ground that he has not yet learned the lesson of diaspora, how to carry the tradition wherever you go, including into the future. I had heard it myself since childhood and never had to put it so much to the test. I loved the film at once and desperately and it still took me years to see how like time itself nothing can really be lost in it, the lifeline I called it without recognizing what it held out. I keep coming back to it, still excavating that bend in the road. It had what I needed to find in it unexpectedly, the coins from the field returned in a stranger's hand.
mrissa: (Default)
mrissa ([personal profile] mrissa) wrote2025-08-06 09:36 pm

Back on pilgrimage

 

Good news, fellow humans! My short story A Pilgrimage to the God of High Places, which appeared last year in Beneath Ceaseless Skies, is a finalist for the WSFA Small Press Award for short fiction.

I am seriously chuffed about this for a number of reasons. One, you know how everyone always says it's an honor just to be a finalist? You know why they say that? Because it is in fact an honor just to be a finalist. So many wonderful stories come out in this field every year that--well, you've seen my yearly recommendation lists. They're quite long. Winnowing them to any smaller group? Amazing, thank you, could easily have been a number of other highly qualified stories by wonderful writers, I am literally just glad to be on the team and hope I can help the ball club. Er, programming staff.

But here's another reason: if you've read that story--which you can do! please do! it's free, and it turns out people like it!--you will immediately see that it is a story about a disabled person. That disabled person is not me, does not have my family or my career or anything like that. But it is my disability. I put my own disability into this story. I gave someone with my disability a story in which they do not have to be "fixed" to be the hero. And...this is not a disability-focused award. This is just an award for genre short fiction. So I particularly appreciate that the people who were selecting stories looked a story with a disabled protagonist whose disability is inherent to the story without being the problem that needs solving and said, yeah, we appreciate that. Thank you. I appreciate you too.

rachelmanija: (Books: old)
rachelmanija ([personal profile] rachelmanija) wrote2025-08-06 10:42 am

The Bog Wife, by Kay Chronister



The Haddesley family has an ancient tradition: when the patriarch dies, the oldest son summons a wife from the bog. Now living in Appalachia, the current patriarch is dying and a new bog wife must be summoned soon, but their covenant with the bog may be going wrong: one daughter fled years ago to live in the modern world, the last bog wife vanished under mysterious circumstances, the bog is drying up, and something very bad has happened to the oldest son...

Isn't that an amazing premise? The actual book absolutely lives up to it, but not in the way that I expected.

It was marketed as horror, and was the inaugural book of the Paper & Clay horror book club. But my very first question to the club was "Do you think this book is horror?"

The club's consensus was no, or not exactly; it definitely has strong folk horror elements, but overall we found it hard to categorize by genre. I am currently cross-shelving it in literary fiction. We all loved it though, and it was a great book to discuss in a book club; very thought-provoking.

One of the aspects I enjoyed was how unpredictable it was. The plot both did and didn't go in directions I expected, partly because the pacing was also unpredictable: events didn't happen at the pace or in the order I expected from the premise. If the book sounds interesting to you, I recommend not spoiling yourself.

The family is a basically a small family cult, living in depressing squalor under the rule of the patriarch. It's basically anti-cottagecore, where being close to nature in modern America may mean deluding yourself that you're living an ancient tradition of natural life where you're not even close to being self-sustaining, but also missing all the advantages of modern life like medical treatment and hot water. I found all this incredibly relatable and validating, as I grew up in similar circumstances though with the reason of religion rather than an ancient covenant with the bog.

The family has been psychologically twisted by their circumstances, so they're all pretty weird and also don't get along. I didn't like them for large stretches, but I did care a lot about them all by the end, and was very invested in their fates. (Except the patriarch. He can go fuck himself.)

It's beautifully written, incredibly atmospheric, and very well-characterized. The atmosphere is very oppressive and claustrophobic, but if you're up for the journey, it will take you somewhere very worthwhile. The book club discussion of the ending was completely split on its emotional implications (not on the actual events, those are clear): we were equally divided between thinking it was mostly hopeful/uplifing with bittersweet elements, mostly sad with some hopeful elements, and perfectly bittersweet.

SPOILERS!

Read more... )
sartorias: (Default)
sartorias ([personal profile] sartorias) wrote2025-08-06 07:13 am
Entry tags:

Some reading!

This replacing of the floors is turning out to be a long project, since most of the grunt work has to be done by us, two olds. It's basically packing to move sans truck. I'm doing more culling, noting my own inconsistencies in regard to what I keep and what I toss. What seemed a ream of letters from one person went out, except for a slim batch of early ones when X visited a country they felt strongly about. But the rest had begun so well, with many book and writing discussions, then became a long downhill slide over the years until I reached the point when I dreaded seeing their handwriting on an envelope. Out those go--those letters served their purpose at the time, but are not worth keeping to revisit.

And yet, I cannot toss old letters from relatives, which are largely reports on their daily doings. Some of those letters are more than fifty years old, so they've become curiosities, little reminders of what life was like in the late sixties/early seventies. But mostly I won't toss those letters because to do so is to silence those voices forever. Sorry, kids, you'll have to toss them when you toss whatever I leave behind.

Not much time for reading as I tear this place apart, and also cull more books. So far I've completely emptied three tall bookcases, and there's a lot more to go!

I've begun reading Emily Eden, whose writing shows influence from Jane Austen. Also, there's the monthly Zoom discussion of Anthony Powell's twelve volume roman fleuve A Dance to the Music of Time; I missed the August live discussion due to conflicting appointments, but they record it, and I'm listening in pieces. So far the talk re this book, The Valley of Bones seems to be circling around how much it's a roman a clef.
sovay: (Jeff Hartnett)
sovay ([personal profile] sovay) wrote2025-08-06 08:05 am

Rewriting old excuses, delete the kisses at the end

I seem to be continuing to sleep more than has been my steady norm for months into years, albeit at peculiar and inconvenient hours that leave me feeling like some sort of crepuscular mammal. I have never been able to nap in my life without it making me feel worse than when I conked out and now it just seems to be an irregularly scheduled part of my day. I am operating on the theory that I will eventually evolve a circadian rhythm. I had one in college, I think.

It would never have occurred to me that the house style of 20th Century Fox was historical megaflops, but Wilson (1944) is the third to cross my radar after Cleopatra (1963) and The Big Trail (1930): it lost its $5.2 million shirt at the box office and Darryl F. Zanuck died mad that it didn't win Best Picture. In the first edition of John Gassner and Dudley Nichols' Best Film Plays of 1943–44 (1945) which [personal profile] spatch picked up from the carrel outside the Brattle Book Shop the week before Christmas in 2017, Zanuck is the only producer to have a preface devoted to his published screenplay and it's all on the defensive, primarily against charges of unnecessary expense and boosterism for FDR. It is not majorly concerned with the historical accuracy of the script by Lamar Trotti, which is fine because regardless of whether it has its names and dates in order, it reads like a political fairy tale. How appealing it is to imagine the twenty-eighth President of the United States as a shy dry stick of a boffin animated by an almost supernal honesty and a self-deprecating sense of humor as underestimated as his perseverance, untarnished by failures of civil rights and never so impaired by his stroke that he can't share the joke with his wife of her letting him out of his presidential responsibilities. A kind of sacrificial king of American idealism, broken across a vision that the world is too fallen and fragmented to match him in, classed by the opening titles with the national saints of Washington and Lincoln. Probably it could only have been trounced by the Catholic super-treacle of Going My Way. America gonif!

Pursuing some details about Wilson with the fervor of a person who really does not want to have to watch the damn movie, I found a profile of Alexander Knox by James Hilton in the February 1945 Photoplay and blew a gasket that I hope registered with Harry Cohn's ass:

Knox belongs to the new generation of Hollywood stars who shape so oddly into the category that they are already on their way to changing both Hollywood and the star system [. . .] Indeed, the only possible thing to say is that he's an actor, and that the fame he has secured in "Wilson" neither enforces nor precludes any particular kind of thing he will do next.

In support of this argument one has only to glance at his previous motion picture roles to gather some notion of the man's range. His first Hollywood film was "The Sea Wolf" with Edward G. Robinson, in which he played the shipwrecked author, a man of physical fear but mental courage. After that there were the memorable moments in "This Above All" as the gentle clergyman and in "None Shall Escape" as the fanatical Nazi leader which in Knox's hands had the sharpness of a steel engraving.

So Knox is a star, but like many of the newer stars, he doesn't fit into the star system; and when enough people don't fit a system it is the system that has to be changed.


I don't disagree with Hilton—about either the actor or the system—but if the latter had changed to accommodate the former in the mid-'40's, I wouldn't have spent these last ten years of my semi-professional life banging my head against the exact intractability of classical Hollywood to know what to do with its actors of whatever gender who couldn't be easily typed or ticky-tackied into marketable components of the dream machine, which are naturally the kind it seems reasonable to me to like best and inclined to be frustrating to follow. In the same way that it fascinates me to encounter criticism of the Production Code at the time of its enforcement, it's useful for me to know that my feelings about the limitations of the traditional star system were shared by its contemporaries, but then it's even more maddening that its operations would not shift meaningfully until the '60's. Justice for Jean Hagen, basically. In other news, I am charmed that Knox was into motorcycles. So was William Wyler around that time; I am glad they never collided.

I forgot to mention when the three robin nestlings fledged and launched, but the current monarch count stands at one chrysalis and four caterpillars. The moon is still wildfire-stained.
Matthew Garrett ([personal profile] mjg59) wrote2025-08-03 08:10 pm
Entry tags:

Cordoomceps - replacing an Amiga's brain with Doom

There's a lovely device called a pistorm, an adapter board that glues a Raspberry Pi GPIO bus to a Motorola 68000 bus. The intended use case is that you plug it into a 68000 device and then run an emulator that reads instructions from hardware (ROM or RAM) and emulates them. You're still limited by the ~7MHz bus that the hardware is running at, but you can run the instructions as fast as you want.

These days you're supposed to run a custom built OS on the Pi that just does 68000 emulation, but initially it ran Linux on the Pi and a userland 68000 emulator process. And, well, that got me thinking. The emulator takes 68000 instructions, emulates them, and then talks to the hardware to implement the effects of those instructions. What if we, well, just don't? What if we just run all of our code in Linux on an ARM core and then talk to the Amiga hardware?

We're going to ignore x86 here, because it's weird - but most hardware that wants software to be able to communicate with it maps itself into the same address space that RAM is in. You can write to a byte of RAM, or you can write to a piece of hardware that's effectively pretending to be RAM[1]. The Amiga wasn't unusual in this respect in the 80s, and to talk to the graphics hardware you speak to a special address range that gets sent to that hardware instead of to RAM. The CPU knows nothing about this. It just indicates it wants to write to an address, and then sends the data.

So, if we are the CPU, we can just indicate that we want to write to an address, and provide the data. And those addresses can correspond to the hardware. So, we can write to the RAM that belongs to the Amiga, and we can write to the hardware that isn't RAM but pretends to be. And that means we can run whatever we want on the Pi and then access Amiga hardware.

And, obviously, the thing we want to run is Doom, because that's what everyone runs in fucked up hardware situations.

Doom was Amiga kryptonite. Its entire graphical model was based on memory directly representing the contents of your display, and being able to modify that by just moving pixels around. This worked because at the time VGA displays supported having a memory layout where each pixel on your screen was represented by a byte in memory containing an 8 bit value that corresponded to a lookup table containing the RGB value for that pixel.

The Amiga was, well, not good at this. Back in the 80s, when the Amiga hardware was developed, memory was expensive. Dedicating that much RAM to the video hardware was unthinkable - the Amiga 1000 initially shipped with only 256K of RAM, and you could fill all of that with a sufficiently colourful picture. So instead of having the idea of each pixel being associated with a specific area of memory, the Amiga used bitmaps. A bitmap is an area of memory that represents the screen, but only represents one bit of the colour depth. If you have a black and white display, you only need one bitmap. If you want to display four colours, you need two. More colours, more bitmaps. And each bitmap is stored in an independent area of RAM. You never use more memory than you need to display the number of colours you want to.

But that means that each bitplane contains packed information - every byte of data in a bitplane contains the bit value for 8 different pixels, because each bitplane contains one bit of information per pixel. To update one pixel on screen, you need to read from every bitmap, update one bit, and write it back, and that's a lot of additional memory accesses. Doom, but on the Amiga, was slow not just because the CPU was slow, but because there was a lot of manipulation of data to turn it into the format the Amiga wanted and then push that over a fairly slow memory bus to have it displayed.

The CDTV was an aesthetically pleasing piece of hardware that absolutely sucked. It was an Amiga 500 in a hi-fi box with a caddy-loading CD drive, and it ran software that was just awful. There's no path to remediation here. No compelling apps were ever released. It's a terrible device. I love it. I bought one in 1996 because a local computer store had one and I pointed out that the company selling it had gone bankrupt some years earlier and literally nobody in my farming town was ever going to have any interest in buying a CD player that made a whirring noise when you turned it on because it had a fan and eventually they just sold it to me for not much money, and ever since then I wanted to have a CD player that ran Linux and well spoiler 30 years later I'm nearly there. That CDTV is going to be our test subject. We're going to try to get Doom running on it without executing any 68000 instructions.

We're facing two main problems here. The first is that all Amigas have a firmware ROM called Kickstart that runs at powerup. No matter how little you care about using any OS functionality, you can't start running your code until Kickstart has run. This means even documentation describing bare metal Amiga programming assumes that the hardware is already in the state that Kickstart left it in. This will become important later. The second is that we're going to need to actually write the code to use the Amiga hardware.

First, let's talk about Amiga graphics. We've already covered bitmaps, but for anyone used to modern hardware that's not the weirdest thing about what we're dealing with here. The CDTV's chipset supports a maximum of 64 colours in a mode called "Extra Half-Brite", or EHB, where you have 32 colours arbitrarily chosen from a palette and then 32 more colours that are identical but with half the intensity. For 64 colours we need 6 bitplanes, each of which can be located arbitrarily in the region of RAM accessible to the chipset ("chip RAM", distinguished from "fast ram" that's only accessible to the CPU). We tell the chipset where our bitplanes are and it displays them. Or, well, it does for a frame - after that the registers that pointed at our bitplanes no longer do, because when the hardware was DMAing through the bitplanes to display them it was incrementing those registers to point at the next address to DMA from. Which means that every frame we need to set those registers back.

Making sure you have code that's called every frame just to make your graphics work sounds intensely irritating, so Commodore gave us a way to avoid doing that. The chipset includes a coprocessor called "copper". Copper doesn't have a large set of features - in fact, it only has three. The first is that it can program chipset registers. The second is that it can wait for a specific point in screen scanout. The third (which we don't care about here) is that it can optionally skip an instruction if a certain point in screen scanout has already been reached. We can write a program (a "copper list") for the copper that tells it to program the chipset registers with the locations of our bitplanes and then wait until the end of the frame, at which point it will repeat the process. Now our bitplane pointers are always valid at the start of a frame.

Ok! We know how to display stuff. Now we just need to deal with not having 256 colours, and the whole "Doom expects pixels" thing. For the first of these, I stole code from ADoom, the only Amiga doom port I could easily find source for. This looks at the 256 colour palette loaded by Doom and calculates the closest approximation it can within the constraints of EHB. ADoom also includes a bunch of CPU-specific assembly optimisation for converting the "chunky" Doom graphic buffer into the "planar" Amiga bitplanes, none of which I used because (a) it's all for 68000 series CPUs and we're running on ARM, and (b) I have a quad core CPU running at 1.4GHz and I'm going to be pushing all the graphics over a 7.14MHz bus, the graphics mode conversion is not going to be the bottleneck here. Instead I just wrote a series of nested for loops that iterate through each pixel and update each bitplane and called it a day. The set of bitplanes I'm operating on here is allocated on the Linux side so I can read and write to them without being restricted by the speed of the Amiga bus (remember, each byte in each bitplane is going to be updated 8 times per frame, because it holds bits associated with 8 pixels), and then copied over to the Amiga's RAM once the frame is complete.

And, kind of astonishingly, this works! Once I'd figured out where I was going wrong with RGB ordering and which order the bitplanes go in, I had a recognisable copy of Doom running. Unfortunately there were weird graphical glitches - sometimes blocks would be entirely the wrong colour. It took me a while to figure out what was going on and then I felt stupid. Recording the screen and watching in slow motion revealed that the glitches often showed parts of two frames displaying at once. The Amiga hardware is taking responsibility for scanning out the frames, and the code on the Linux side isn't synchronised with it at all. That means I could update the bitplanes while the Amiga was scanning them out, resulting in a mashup of planes from two different Doom frames being used as one Amiga frame. One approach to avoid this would be to tie the Doom event loop to the Amiga, blocking my writes until the end of scanout. The other is to use double-buffering - have two sets of bitplanes, one being displayed and the other being written to. This consumes more RAM but since I'm not using the Amiga RAM for anything else that's not a problem. With this approach I have two copper lists, one for each set of bitplanes, and switch between them on each frame. This improved things a lot but not entirely, and there's still glitches when the palette is being updated (because there's only one set of colour registers), something Doom does rather a lot, so I'm going to need to implement proper synchronisation.

Except. This was only working if I ran a 68K emulator first in order to run Kickstart. If I tried accessing the hardware without doing that, things were in a weird state. I could update the colour registers, but accessing RAM didn't work - I could read stuff out, but anything I wrote vanished. Some more digging cleared that up. When you turn on a CPU it needs to start executing code from somewhere. On modern x86 systems it starts from a hardcoded address of 0xFFFFFFF0, which was traditionally a long way any RAM. The 68000 family instead reads its start address from address 0x00000004, which overlaps with where the Amiga chip RAM is. We can't write anything to RAM until we're executing code, and we can't execute code until we tell the CPU where the code is, which seems like a problem. This is solved on the Amiga by powering up in a state where the Kickstart ROM is "overlayed" onto address 0. The CPU reads the start address from the ROM, which causes it to jump into the ROM and start executing code there. Early on, the code tells the hardware to stop overlaying the ROM onto the low addresses, and now the RAM is available. This is poorly documented because it's not something you need to care if you execute Kickstart which every actual Amiga does and I'm only in this position because I've made poor life choices, but ok that explained things. To turn off the overlay you write to a register in one of the Complex Interface Adaptor (CIA) chips, and things start working like you'd expect.

Except, they don't. Writing to that register did nothing for me. I assumed that there was some other register I needed to write to first, and went to the extent of tracing every register access that occurred when running the emulator and replaying those in my code. Nope, still broken. What I finally discovered is that you need to pulse the reset line on the board before some of the hardware starts working - powering it up doesn't put you in a well defined state, but resetting it does.

So, I now have a slightly graphically glitchy copy of Doom running without any sound, displaying on an Amiga whose brain has been replaced with a parasitic Linux. Further updates will likely make things even worse. Code is, of course, available.

[1] This is why we had trouble with late era 32 bit systems and 4GB of RAM - a bunch of your hardware wanted to be in the same address space and so you couldn't put RAM there so you ended up with less than 4GB of RAM
sartorias: (Default)
sartorias ([personal profile] sartorias) wrote2025-08-04 08:33 am
Entry tags:

PBS

On their ongoing mission to reserve the entire national treasury to themselves and their suck-ups, the orange excresence and fellow scumbags have axed PBS.

But! For a few bucks a month (before they thieve those, too) you can view PBS's entire backlog, plus other goodies. And do some general good at preserving our culture while at it.

Okay, back to dismantling this entire house so we can replace the disgusting floors.
sovay: (Rotwang)
sovay ([personal profile] sovay) wrote2025-08-03 08:55 pm

At last she got acquainted with a rambling mad playactor

Apparently if permitted to sleep, my body thinks it should be allowed to do it again. I napped this afternoon and am contemplating further adventures in napping this evening. It's inconvenient in terms of a day, but on the other hand my sleep debt was old enough to vote in the last election. Have some links.

1. Courtesy of [personal profile] moon_custafer: Keith Moon fills in for John Peel in 1973. The musical choices are clever and more surf-inflected than I would have guessed and the interstitial sketches are deranged. Eleven out of ten, no notes. "Here it is once again, for those of you listening, in color."

2. Courtesy of [personal profile] selkie: clips from this weekend's semi-concert performance of Jesus Christ Superstar at the Hollywood Bowl starring Cynthia Erivo as Jesus. The effect is not unlike Nina Simone's "Pirate Jenny" (1964). Also queer af.

3. With incredible timing, the Harvard Film Archive has just announced this winter's series of Columbia 101: The Rarities, meaning that anyone in the Boston area who actually wants to hit themselves with None Shall Escape (1944) will have two chances on 35 mm including the first night of Hanukkah. I plan to be there. Several other titles of interest I have never seen, or never seen in a theater. Especially since this spring took my plans for Noir City Boston out at the knees, wish me luck.

4. Of the minimal amount of television I watched as a child, nearly all of it was brought to me by the Corporation for Public Broadcasting and viewers like you. My mother has begun to refer to the incumbent of the White House with epithets as out of Homeric epic, of which "starver of children" is currently the strongest: bodies, minds, future. The earthquake swarm around Akrotiri subsided earlier this year, but everyone I know feels like Thera and counting.

5. A whole lot of people sent me the newly published Sumerian myth and it does make me very happy.
sovay: (Silver: against blue)
sovay ([personal profile] sovay) wrote2025-08-02 05:40 pm

That fine girl of mine's on the Georgia Line

Rabbit, rabbit! Thanks to the aftermath of out-of-town relatives, last night's dinner of lobster and brie and crepes was the most decadent meal I had eaten in ages. Seven monarchs which eclosed all in the same afternoon took flight into the late blue sky.



Overnight adventures with ants and asthma notwithstanding, I managed to sleep nine hours. I am informed by my mother that four more monarchs have taken flight. Two more repose in chrysalis and another two are still mowing their way through the milkweed, storing up for their wings.
mrissa: (Default)
mrissa ([personal profile] mrissa) wrote2025-08-02 04:22 pm
Entry tags:

Books read, late July

 

William Alexander and Wade Roush, eds., Starstuff: Ten Science Fiction Stories to Celebrate New Possibilities. This is that rare thing, an anthology of MG SF. Even rarer, the authors in it are generally experienced at writing for children but were not giving us (or the kids) a pile of tie-in stories, rather doing SF that works as short stories. Count me in. There were several favorites here with new work--Fran Wilde and Carlos Hernandez stood out.

Elizabeth Bear, Blood and Iron, Whiskey and Water, and Ink and Steel. Rereads. One of the strange things about having been in this business this long is that I can now have the entirely new experience of rereading something that a peer wrote twenty years ago, that I read when it was new. That's basically what I'm doing with the Promethean Age series, and it's fascinating to be able to see not just how a person might do some things differently but how my friend, specifically, definitely would. A person would not have someone's female mage title be Maga in 2025 (ope); but I've been there the whole time for how my friend handles writing about trust and betrayal and other themes like the ones in this book, and...she wouldn't do it the way she does now without having done it the way she did then. Looking forward to finishing the series reread when I've made a bit of a dent in my birthday books.

A.S. Byatt, Babel Tower. Reread. What's interesting to me about the structure of all this on the reread is that Byatt sets it up for herself so she never has to make Frederica's marriage work on the page. Frederica was married after the previous book, and by the time this one starts, the marriage is already absolutely ghastly. So we never have to live through the "oh, this is why she picked this guy, I see it now" moments. We can go with accounts, summaries...which are never the whole story. I also feel like it's clearer to me on the reread that the level of domestic violence that had to be involved to be sure that the reader would take Frederica's side was absolutely appalling. Which is not to say that level of domestic violence doesn't happen, just...well. This is very well done, and I will want to reread it again but not often, oh lordy not often.

Agatha Christie, Murder Is Easy. This sure is a murder mystery by Agatha Christie.

Alexa Hagerty, Still Life With Bones: Genocide, Forensics, and What Remains. Oh gosh, this was extremely well done, one of the best books I've read lately, and also of course harrowing. Of course. The title tells you what you're getting--specifically, the author did forensic anthropology on mass gravesites in Guatemala and Argentina--you should not be surprised at what is in here. And indeed I was not, because shocked and surprised are not the same thing, especially not in 2025. I think the thing that I found notable, that I have been turning over and over in my head as a speculative fiction writer for the last several years and not finding solutions to, is that there were very clear examples of how the people who are wrong--who are very wrong, morally wrong, villains of history wrong--very often do not have a point where they change their minds and see that they are wrong. And I think that we are ill equipped for shameless wrongs, and I am probably going to be thinking about that for many years more.

Barbara Hambly, Murder in the Trembling Lands. This is the latest Benjamin January mystery, and it leans on the complexities of family structure (emotionally as well as socially) in Louisiana in the early 19th century when the different sides of the family were racially differentiated. Which is an interesting thing to do, and I am still enjoying this series twenty-some books on.

Kat Lehmann, No Matter How It Ends a Bluebird's Song: A Haiku Memoir. There is a whole spectrum of how nitpicky you are about what does and does not make a haiku, and if you are (as I am) toward the nitpickier end of that spectrum, you will find that many of these things are not haiku. They are brief, fragile, fleeting, fascinating. Sometimes it doesn't matter whether they're exactly haiku. (Also sometimes it might.)

Elizabeth Lim, A Forgery of Fate. This is an East Asian-inflected Beauty and the Beast retelling wherein the Beast is a water dragon and Beauty is an art forger. That part was great, and I find Lim's prose compulsively readable. What was less great for me is that it featured the trope that if someone is being mean and unpleasant it means that he secretly likes you and is doing it to protect you from something something who cares. BIG NOPE from me, people who are mean and act like they don't like you probably do not like you and should not get to have sex with you. (There is not a great deal of actual sex here. This is a YA. But still, message remains the same.)

Molly Knox Ostertag, The Deep Dark. The twist was very telegraphed for me, and I'm not sure that the author stayed fully in control of the metaphor throughout, but it was a fun coming of age self-acceptance magic comic that I will probably give to a young person in my life.

Victor Pineiro, The Island of Forgotten Gods. Discussed elsewhere.

Helen Scales, What the Wild Sea Can Be. This is nonfiction (title could go either way!) about marine life and how it is adapting (or not) to climate change, and it was very cool and full of a wide range of sea creatures. I like sea creatures. Yay. Also Scales was very conscious of walking the line where she reported accurately but did not inculcate despair, which in climate writing is crucial.

Ashley Shew, Against Technoableism: Rethinking Who Needs Improvement. This is very short and pithy, and probably people who are not disabled and spend less time with other disabled people than I do need it more than I do, but also it was a fast read and well done, good to know that I have this as a resource to recommend. Also kudos to our librarians for putting it on the Disability Pride Month display, which is where I found it. Also kudos to our librarians for having a Disability Pride Month display in this year of 2025.

Jennie Erin Smith, Valley of Forgetting: Alzheimer's Families and the Search for a Cure. This specifically deals with the families in Colombia that have strong clear lines of genetic tendency toward Alzheimer's: how they have suffered, how they have been involved in Alzheimer's research, the ways in which that has not been handled very satisfactorily by people with more resources and power. Smith interacts with these families as individuals and groups, as real people, and it is a correspondingly difficult read, and also a correspondingly worthwhile one.

Frederik Juliaan Vervaet, David Rafferty, and Christopher J. Dart, eds., How Republics Die: Creeping Authoritarianism in Ancient Rome and Beyond. Kindle. This is a series of papers mostly about the transition from Roman Republic to Roman Empire, with several that venture beyond that to historical parallels. It's interesting stuff even if you aren't someone who thinks about Rome all the time, definitely worth the time, and as with many of this type of collection, if you don't find one paper particularly interesting, another will be along in

mrissa: (Default)
mrissa ([personal profile] mrissa) wrote2025-08-01 01:41 pm

A bridge too far

 New story out today in Clarkesworld: A Shaky Bridge ! This one is more directly referential to current events than most of my science fiction, while also drawing on my experience with my dad having strokes. So this is not the most happy-clappy upbeat story I've ever written...but it is one that I feel good about having out there, and I hope you'll like it too.
sovay: (Viktor & Mordecai)
sovay ([personal profile] sovay) wrote2025-07-31 11:33 pm
Entry tags:

In those days, I still believed in the future

It doesn't sound like much to call a movie the most important film about the Holocaust to come out of wartime Hollywood. Once you get past the handful of outliers headed by Lubitsch, the bar is in hell, baking bagels. The Joint Declaration by Members of the United Nations did not pull in the crowds in Peoria. Thanks to the combined filtration of the Production Code Administration and the Office of War Information, even films that engage with the ideologies rather than the aesthetics of Nazism can start to feel as thin on Tinseltown ground as a minyan in Sodom. I don't know what else to call None Shall Escape (1944), a Columbia B-effort that does not play like any other American propaganda of my experience. It plays like a pre-Code at the height of World War II, a crash-in from some parallel dream factory with far less need to cushion the reality shock of genocide or the humanity that commits it. It's harsh, cheap, uncannily unstuck in time. Nothing in the literature has knocked me for such a loop since Emeric Pressburger's The Glass Pearls (1966).

In part it is a study of a kind I had not thought popularly available until the publication of Adorno et al.'s The Authoritarian Personality (1950), a case history of terminal Nazification. The film isn't subtle, but neither is it stupid. The age of onset is World War I. To the small and oft-annexed town of Lidzbark, it made no difference for years that their schoolteacher was ethnically German, especially since the culturally Polish community around him was territorially Prussian at the time, but in the demobbed spring of 1919, as the restoration of Poland and the breaking of Germany rest on the same table at Versailles, it matters fiercely to Alexander Knox's Wilhelm Grimm. He greets his homecoming ironically, cautiously: "You're very generous to an enemy." It would go over better without his newfangled Aryan hauteur. It marks him out more than his soldier's greatcoat or his self-conscious limp, this damage he's taken beyond shell-shock, into conspiracy theory that horrifies his long-faithful fiancée of Marsha Hunt's Marja Pacierkowski all the more for the earnestness with which he expects her to share it. Disability and defeat have all twisted up for him into the same embittered conviction of betrayal, all the riper for the consolation of the Dolchstoßlegende, the romantic nationalism of Lebensraum, the illusion of Völkisch identity as an unalterable fact to cling to in a world of broken bodies and promises where even the home front is no longer where he left it. "You don't understand. Nothing's the same anymore . . . The future lies in victory, not in freedom." Like an illness that protects itself, even as his nascent fascism kills his romance deader than any disfigurement, it feeds his hurt back into the seamless cycle of grievance and justification until his frustration finds itself a suitably inappropriate outlet—raping a smitten student to revenge the slur of his jilting on his Teutonic manhood. More than proto-Nazisploitation, the assault seals his willingness to take out his insecurities on the innocent. By the time the action rolls around to Munich in 1923, it suspends no disbelief to find him serving a comfortable six months for his participation in the Beer Hall Putsch. By 1934, he's a decorated Alter Kämpfer, a veteran of the Reichstag fire and the Night of the Long Knives, a full oak-leaved SS-Gruppenführer who can turn his own brother over to the Gestapo without a blush and effectively abduct his nephew into the Hitler Youth; in short, exactly the sort of proper party man whom the seizure of Poland in 1939 should return to Lidzbark in the sick-joke-made-good plum role of Reichskommissar. Technically quartered in Poznań, he can't miss the chance to grind the supremacy of the Reich personally into the faces of the "village clowns" who last saw their schoolmaster fleeing in disgrace. "The best," he remarks pleasantly over his plenitude of coffee and brandy, the likes of which his silent, captive hosts have not seen in war-straitened weeks, "and not enough of it." He has already presided over a book-burning and the filming of a newsreel of propaganda, a casually cruel calling card. All the rest of the Generalplan Ost can wait until the morning.

None Shall Escape would be historically impressive enough if it merely, seriously traced the process by which an unexceptional person could accumulate a catalogue of atrocities that would sound like anti-German propaganda if they had not already been documented as standard operating procedures of the Third Reich. Concentration camps in their less crematory aspects were old news since 1933. The 1970's did not invent the Wehrmachtsbordelle. Knox ghosts on his German accent after a few lines, but it doesn't mar his performance that could once again come off like a national metonym and instead makes a mesmeric awful object of a man accelerating through moral event horizons like a railgun, never once given the easy out of psychopathology—in a screen niche dominated by brutes, fools, and sadists, the demonstrably intelligent, emotionally layered Wilhelm who has outsourced his conscience to his Führer stands out like a memo from Arendt. The political detailing of his descent is equally noteworthy and particularly acute in its insistence on a ladder of dreadful choices rather than irresistible free-fall, but I can get nuanced Nazis elsewhere in Hollywood if I need them. I can't get the eleven o'clock shocker of this picture which feels like a correction of the record, not a first-generation entry in that record itself. It goes farther than uncensored acknowledgement of what no wartime production would call the Shoah, remarkable already in light of official directives not to dramatize even the known extent of Nazi antisemitism unduly. Shot in the late summer into fall of 1943, it is the earliest film I have seen in my life to show that the Jews fought.

Horses are more important than Jews, that's all. )

It was not clairvoyance, even if None Shall Escape often gives the impression of working just ahead of the rim of history. Its Oscar nomination for Best Original Motion Picture Story was shared between the German and Austrian Jewish refugees of Alfred Neumann and Joseph Than, who had brought their respective border-crossing experiences to Hollywood—Neumann had even been born in Lidzbark when it was still German Lautenburg. Director Andre de Toth was Hungarian and, for a change, not Jewish, but his very late exit from occupied Europe had gifted him with a disturbing, exceptional qualification to treat the subject of Nazi atrocities on screen: caught in Warsaw when the balloon went up, he had been pressed into service in Nazi propaganda. One of the sickest, most pungent details in the movie is the Theresienstadt-like newsreel of a queue of desperately smiling townsfolk to whom the Nazis dispense a largesse of bread and soup which is snatched from their mouths the second the cameras stop rolling, the rabbi himself unceremoniously jerked from the line he was originally forced into so as not to spoil the picture of placid, grateful Poles with a Jew. It was de Toth's recreation of an incident it had haunted him so much to participate in that he spoke of it only toward the end of his life, its ghost hidden until then in the plain sight of the silver screen. Did he lend his piratical eyepatch to the wounded Wilhelm for the same reason, like Pressburger's stolen memories to Karl Braun? Who among this émigré crew had seen the loading of a night train bound to the east? The closeness to reality of this film is a double edge. Wrapped in its near-future frame of a post-war, Nuremberg-style trial in whose hindsight all these horrors are supposed to be safely past and in the process of redress, None Shall Escape locks itself into uncertainty because it knows, as its more sanitized age-mates do not have to, that when the lights come up the trains are still running on time. It can't close the loop of its own title. When all the testimonies have concluded in the case of Wilhelm Grimm, Reich Commissioner of Western Poland, charged in the absence of a definition of genocide with the "unspeakable miseries" of "the wanton extermination of human life," the notably international tribunal does not pronounce sentence: it turns the future over to the audience. The verdict is left to the fourth wall to render as a line of Allied flags flutters expectantly as if over the as yet unimagined headquarters of the UN. Like a lost soul stripped of everything but the doctrine that cost him it all, Wilhelm screamed out his die-hard Reich-dream straight to us: "You've just won another battle in a fight which has not ended . . . You cannot crush us! We will rise again and again!" In a more recognizable war movie, his cry would be the impotence of defeat, but in this one? Is he right? Is there such a thing as justice for crimes against humanity? Is it enough to keep us from churning out more conspiratorial ideologies, more genocidal wars? It isn't spellmaking, it's a thought experiment so suddenly, darkly reflective that if Technician Fourth Grade Rod Serling hadn't been in boot camp with the rest of the 511th Parachute Infantry Regiment at the time of production, I'd blame him for a hand in its black mirror. If I shake it under the present world-historical conditions, the magic eight-ball seems to be coming up SOL. Do I need to state that this picture commercially flopped?

Fortunately for historical memory, None Shall Escape was never entirely lost. I found it in the Criterion Channel's Noir and the Blacklist and while I could argue with the first categorization, the second was an indisputable hat trick: Marsha Hunt, Alexander Knox, and screenwriter Lester Cole, the card-carrying Communist of the Hollywood Ten. Sucks to McCarthy, it can be readily watched on YouTube and the Internet Archive and even to my surprise obtained on Sony Pictures Blu-Ray. DP Lee Garmes does his low-key considerable best to compensate for a budget like Samuel Bischoff turned the couch upside down and shook it for change and a moth flew out. The resourceful art direction of Lionel Banks does the same for a Western set that needs to be in Poland. I am afraid that after catching the back-to-back breadth of his shape-changing in The Sea Wolf (1941) and this film, I am unlikely ever to be sensible on the subject of Alexander Knox again, especially when his performance is one of those high-wire acts that can't once glance down at the actor's vanity for reassurance or out to the audience for sympathy, but Hunt matches him so intensely and effortlessly over their quarter-century entwined like a marriage on the wrong side of the mirror, somewhere off in the forking paths of alternate film history they should have been less inimically reteamed. "There's your Weimar Republic for you." Of course I don't need to reach back into 1919 or even 1944 to find a Wilhelm, but it matters to have the reminder of a Rabbi Levin. We will outlive them. This choice brought to you by my free backers at Patreon.
rachelmanija: (Books: old)
rachelmanija ([personal profile] rachelmanija) wrote2025-07-31 10:26 am

Katabasis, by R. F. Kuang



Katabasis releases at the end of August. I read an advance copy.

I have to conclude that R. F. Kuang's fiction is just not to my taste. This is the first book of hers that I even managed to finish, having previously given up on both Babel (anvillicious, with anvillicious footnotes) and The Poppy War (boring) quite early on. However, a lot of my customers love her books, so I will buy and sell multiple copies of this one.

The structure and concept of Katabasis is quite appealing. Alice Law is at magic college, obsessively determined to succeed. When exploitative working conditions lead to her making a mistake that gorily kills her mentor Professor Grimes, Alice still needs his recommendation... so she goes to Hell to fetch him back! She's followed by another student, Peter, who is a perfect genius who she doesn't realize is in love with her. Their journey through Hell takes up almost all of the book, interspersed by flashbacks to college.

Lots of people will undoubtedly love this book. I found it thuddingly obvious and lacking in charm. The humor was mildly amusing at best. The magic is boring and highly technical. Alice is frustratingly oblivious, self-centered, and monomaniacal - which is clearly a deliberate character choice, but I did not enjoy reading about her. Hell was boring - how do you make Hell boring?!

Spoilery reveal about Peter: Read more... )

The entire book, I felt like I was sitting there twiddling my fingers waiting for Alice to figure out that it's not okay for college to be exploitative and abusive, that it was bad for Professor Grimes to have sexually assaulted her, that Peter loved her, and that success isn't everything. Though at least it didn't have anvillicious footnotes [1] like Babel!

[1] Legally and morally, Professor Grimes sexually assaulted Alice. It is common for survivors of sexual assault to not recognize it as such at the time, especially when the assault involves an abuse of power. [2]

[2] It is an abuse of power for a professor to make any sexual overture to a student, even a seemingly consensual [3] one.

[3] Due to the power differential, no sexual relations between a professor and a student can ever be truly consensual.

I will continue to stock Kuang's books but this is probably the last time I will attempt to actually read one.

I do love the cover.
Matthew Garrett ([personal profile] mjg59) wrote2025-07-30 06:48 pm
Entry tags:

Secure boot certificate rollover is real but probably won't hurt you

LWN wrote an article which opens with the assertion "Linux users who have Secure Boot enabled on their systems knowingly or unknowingly rely on a key from Microsoft that is set to expire in September". This is, depending on interpretation, either misleading or just plain wrong, but also there's not a good source of truth here, so.

First, how does secure boot signing work? Every system that supports UEFI secure boot ships with a set of trusted certificates in a database called "db". Any binary signed with a chain of certificates that chains to a root in db is trusted, unless either the binary (via hash) or an intermediate certificate is added to "dbx", a separate database of things whose trust has been revoked[1]. But, in general, the firmware doesn't care about the intermediate or the number of intermediates or whatever - as long as there's a valid chain back to a certificate that's in db, it's going to be happy.

That's the conceptual version. What about the real world one? Most x86 systems that implement UEFI secure boot have at least two root certificates in db - one called "Microsoft Windows Production PCA 2011", and one called "Microsoft Corporation UEFI CA 2011". The former is the root of a chain used to sign the Windows bootloader, and the latter is the root used to sign, well, everything else.

What is "everything else"? For people in the Linux ecosystem, the most obvious thing is the Shim bootloader that's used to bridge between the Microsoft root of trust and a given Linux distribution's root of trust[2]. But that's not the only third party code executed in the UEFI environment. Graphics cards, network cards, RAID and iSCSI cards and so on all tend to have their own unique initialisation process, and need board-specific drivers. Even if you added support for everything on the market to your system firmware, a system built last year wouldn't know how to drive a graphics card released this year. Cards need to provide their own drivers, and these drivers are stored in flash on the card so they can be updated. But since UEFI doesn't have any sandboxing environment, those drivers could do pretty much anything they wanted to. Someone could compromise the UEFI secure boot chain by just plugging in a card with a malicious driver on it, and have that hotpatch the bootloader and introduce a backdoor into your kernel.

This is avoided by enforcing secure boot for these drivers as well. Every plug-in card that carries its own driver has it signed by Microsoft, and up until now that's been a certificate chain going back to the same "Microsoft Corporation UEFI CA 2011" certificate used in signing Shim. This is important for reasons we'll get to.

The "Microsoft Windows Production PCA 2011" certificate expires in October 2026, and the "Microsoft Corporation UEFI CA 2011" one in June 2026. These dates are not that far in the future! Most of you have probably at some point tried to visit a website and got an error message telling you that the site's certificate had expired and that it's no longer trusted, and so it's natural to assume that the outcome of time's arrow marching past those expiry dates would be that systems will stop booting. Thankfully, that's not what's going to happen.

First up: if you grab a copy of the Shim currently shipped in Fedora and extract the certificates from it, you'll learn it's not directly signed with the "Microsoft Corporation UEFI CA 2011" certificate. Instead, it's signed with a "Microsoft Windows UEFI Driver Publisher" certificate that chains to the "Microsoft Corporation UEFI CA 2011" certificate. That's not unusual, intermediates are commonly used and rotated. But if we look more closely at that certificate, we learn that it was issued in 2023 and expired in 2024. Older versions of Shim were signed with older intermediates. A very large number of Linux systems are already booting certificates that have expired, and yet things keep working. Why?

Let's talk about time. In the ways we care about in this discussion, time is a social construct rather than a meaningful reality. There's no way for a computer to observe the state of the universe and know what time it is - it needs to be told. It has no idea whether that time is accurate or an elaborate fiction, and so it can't with any degree of certainty declare that a certificate is valid from an external frame of reference. The failure modes of getting this wrong are also extremely bad! If a system has a GPU that relies on an option ROM, and if you stop trusting the option ROM because either its certificate has genuinely expired or because your clock is wrong, you can't display any graphical output[3] and the user can't fix the clock and, well, crap.

The upshot is that nobody actually enforces these expiry dates - here's the reference code that disables it. In a year's time we'll have gone past the expiration date for "Microsoft Windows UEFI Driver Publisher" and everything will still be working, and a few months later "Microsoft Windows Production PCA 2011" will also expire and systems will keep booting Windows despite being signed with a now-expired certificate. This isn't a Y2K scenario where everything keeps working because people have done a huge amount of work - it's a situation where everything keeps working even if nobody does any work.

So, uh, what's the story here? Why is there any engineering effort going on at all? What's all this talk of new certificates? Why are there sensationalist pieces about how Linux is going to stop working on old computers or new computers or maybe all computers?

Microsoft will shortly start signing things with a new certificate that chains to a new root, and most systems don't trust that new root. System vendors are supplying updates[4] to their systems to add the new root to the set of trusted keys, and Microsoft has supplied a fallback that can be applied to all systems even without vendor support[5]. If something is signed purely with the new certificate then it won't boot on something that only trusts the old certificate (which shouldn't be a realistic scenario due to the above), but if something is signed purely with the old certificate then it won't boot on something that only trusts the new certificate.

How meaningful a risk is this? We don't have an explicit statement from Microsoft as yet as to what's going to happen here, but we expect that there'll be at least a period of time where Microsoft signs binaries with both the old and the new certificate, and in that case those objects should work just fine on both old and new computers. The problem arises if Microsoft stops signing things with the old certificate, at which point new releases will stop booting on systems that don't trust the new key (which, again, shouldn't happen). But even if that does turn out to be a problem, nothing is going to force Linux distributions to stop using existing Shims signed with the old certificate, and having a Shim signed with an old certificate does nothing to stop distributions signing new versions of grub and kernels. In an ideal world we have no reason to ever update Shim[6] and so we just keep on shipping one signed with two certs.

If there's a point in the future where Microsoft only signs with the new key, and if we were to somehow end up in a world where systems only trust the old key and not the new key[7], then those systems wouldn't boot with new graphics cards, wouldn't be able to run new versions of Windows, wouldn't be able to run any Linux distros that ship with a Shim signed only with the new certificate. That would be bad, but we have a mechanism to avoid it. On the other hand, systems that only trust the new certificate and not the old one would refuse to boot older Linux, wouldn't support old graphics cards, and also wouldn't boot old versions of Windows. Nobody wants that, and for the foreseeable future we're going to see new systems continue trusting the old certificate and old systems have updates that add the new certificate, and everything will just continue working exactly as it does now.

Conclusion: Outside some corner cases, the worst case is you might need to boot an old Linux to update your trusted keys to be able to install a new Linux, and no computer currently running Linux will break in any way whatsoever.

[1] (there's also a separate revocation mechanism called SBAT which I wrote about here, but it's not relevant in this scenario)

[2] Microsoft won't sign GPLed code for reasons I think are unreasonable, so having them sign grub was a non-starter, but also the point of Shim was to allow distributions to have something that doesn't change often and be able to sign their own bootloaders and kernels and so on without having to have Microsoft involved, which means grub and the kernel can be updated without having to ask Microsoft to sign anything and updates can be pushed without any additional delays

[3] It's been a long time since graphics cards booted directly into a state that provided any well-defined programming interface. Even back in 90s, cards didn't present VGA-compatible registers until card-specific code had been executed (hence DEC Alphas having an x86 emulator in their firmware to run the driver on the card). No driver? No video output.

[4] There's a UEFI-defined mechanism for updating the keys that doesn't require a full firmware update, and it'll work on all devices that use the same keys rather than being per-device

[5] Using the generic update without a vendor-specific update means it wouldn't be possible to issue further updates for the next key rollover, or any additional revocation updates, but I'm hoping to be retired by then and I hope all these computers will also be retired by then

[6] I said this in 2012 and it turned out to be wrong then so it's probably wrong now sorry, but at least SBAT means we can revoke vulnerable grubs without having to revoke Shim

[7] Which shouldn't happen! There's an update to add the new key that should work on all PCs, but there's always the chance of firmware bugs
rachelmanija: (Default)
rachelmanija ([personal profile] rachelmanija) wrote2025-07-30 11:50 am

(no subject)

Open to: Registered Users, detailed results viewable to: All, participants: 126


Which of these books that I've recently read would you most like me to review?

View Answers

Red Rising, by Pierce Brown. SF dystopia much beloved by many dudes.
19 (15.1%)

The Daughter's War & Blacktongue Thief, by Christopher Buehlman. Dark fantasy featuring WAR CORVIDS.
36 (28.6%)

The Bog Wife, by Kay Chronister. Very hard to categorize novel about a family whose oldest son can call a wife from the bog. Maybe.
36 (28.6%)

Katabasis, by R. F. Kuang. A descent into Hell by a pair of magic students.
51 (40.5%)

The Bewitching, by Silvia Moreno-Garcia. Three timelines, all involving witches.
23 (18.3%)

Mexican Gothic, by Silvia Moreno-Garcia. Exactly what it sounds like.
41 (32.5%)

Lone Women, by Victor LaValle. It's so much harder to write reviews of books I love.
38 (30.2%)

Troubled Waters, by Sharon Shinn. Small-scale fantasy with really original magic system; loved this.
59 (46.8%)

Hominids, by Robert Sawyer. Alternate world where Neanderthals reign meets ours.
32 (25.4%)

Under One Banner, by Graydon Saunders. Yes I will get to this, but it'll be a re-read in chunks.
13 (10.3%)

A round-up of multiple books (not the ones in this poll) with just a couple sentences each
24 (19.0%)



Have you read any of these? What did you think?
rachelmanija: (Books: old)
rachelmanija ([personal profile] rachelmanija) wrote2025-07-30 11:25 am

The Husbands, by Holly Gramazio



This book has a hilarious premise: a single woman's attic suddenly starts producing husbands! A husband comes down from the attic of Lauren's London flat, and she's instantly in an alternate reality in which she married that guy. The decor of her flat shifts, sometimes her own body or job shifts depending on whether she now works out regularly or some such, and sometimes there's wider ripple effects. Lauren is always aware of the changes, but no one else is. If the husband goes back into the attic, he vanishes and a new husband comes down.

I adore this premise, and the book absolutely commits to it. It is 100% about husbands coming down from the attic. Unfortunately, I didn't really like the way it explored the premise. It's largely a metaphor for dating in a time when you can swipe on an internet profile and instantly get rid of a possible match, so Lauren cycles through hundreds of husbands, often rejecting them at a glance, and we only ever get to know a very small number of them. Of the ones we do get to know, they're mostly fairly one-note - handsome and nice and American, handsome and nice but chews with his mouth open, handsome and nice but boring, or mean and hard to get rid of. The falling Ken dolls cover is apt in more ways than one. Lauren is also pretty one-note - shallow and frantic.

I also had an issue with the pacing. There's so much repetition of the same actions. A husband comes down, Lauren examines her text messages and photos for evidence of their history together, Lauren calls her friends to see what they know about him. A husband comes down, Lauren takes one look at him and sends him back. Some of this is funny but it gets old. The book felt at least 50 pages longer than it needed to be.

I would have liked the book a lot more if there had been way fewer husbands, and more time spent with each one. I never really got a sense of what Lauren wanted in a man, apart from some surface-level characteristics, or what she wanted in life. Her lives were also generally not that different, which didn't help.

There was one part that I really liked and was actually surprising.

Read more... )

Rec by Naomi Kritzer, who liked it more than I did. But thanks for the rec! It was an interesting read, and not one I'd have found by myself.

My absolute favorite alternate lives story remains the novella And Then There were (N-One), by Sarah Pinsker, available free online at that link.
mrissa: (Default)
mrissa ([personal profile] mrissa) wrote2025-07-30 12:28 pm
Entry tags:

The Island of Forgotten Gods, by Victor Pineiro

 

Review copy provided by the publisher.

This is an unsubtly sweet book, an homage to Puerto Rico and its people and also a lovely depiction of being a second-culture kid. Nico is a budding filmmaker, desperate to win the approval of the most famous Puerto Rican in the world, filmmaker and musical writer Juan Miguel Baranda. (I said "unsubtly," didn't I?) He's spending a glorious summer with his abuela and his two primos, looking forward to lazy days at abuela's house, glorious snacks, and beach time.

But the three cousins have far more adventure than they bargained for when they encounter a chupacabra--and the rest of the legends of Puerto Rico are not far behind. Nico and his family have to figure out what the mysterious creatures and sublime beings are trying to tell them, before the island they love faces devastation again--this time possibly for good.

Sometimes Nico's angst about his movie career and his parents' relationship slows the pace of this middle grade fantasy, but cousins Nessi and Kira are always there to pick up the pace--and Pineiro succeeds in what Nico hopes to do, painting a portrait of the island he loves so that the rest of the world can see what he loves about it.

mrissa: (Default)
mrissa ([personal profile] mrissa) wrote2025-07-30 08:53 am

When listicles go wrong

 New story out today! Things I Miss About Civilization appears in Nature Futures. Just a scientist, a slightly broken spaceship, and the great expanse between galaxies....
sovay: (Haruspex: Autumn War)
sovay ([personal profile] sovay) wrote2025-07-29 12:15 pm

I'll do as much for my true love as any young girl may

We never heard back about the broken central air which I had to repair myself, but apparently the time could be found to send contractors to scythe down almost every green thing on the property. There was a mulberry tree in the back yard which I had been enjoying as it fruited. Now it's a naked raw stump in a buzz-cut of brown stubble. A rose-tree in our driveway had been nodding its green shade against my office window and reaching its leaves up to the casement in the bathroom and it's gone, too. Nothing is left in the back except the lilac which looks crisped and desolate and some thin ornamental with the yew trees in the front. We weren't warned. The house doesn't look landscaped, it looks slaughtered. I had seen squirrels and birds in the mulberry. I had just taken some pictures of our wild yard and [personal profile] spatch had taken some pictures of me in it. The black swallow-wort they could uproot any time, but I had been photographing that rose for almost three years now, growing like a metaphor from the cracks in the concrete gutter.