quiltbag characters – Page 2

Every Heart a Doorway – Seanan McGuire

18th June 2017 by Polenth

Series: Wayward Children, #1
First Published: 5th April, 2016
Genre: Urban Fantasy / Novella
Available: Amazon.com | Amazon UK

Nancy has spent the last few years in the Halls of the Dead, an underworld where stillness is valued. When she returns, she ends up at a boarding school for other teenagers like her, who are longing to return to their worlds.

Contrary to the book’s official description, it’s not about children who are spat out by their portal worlds when their potential is used up. Some can return to their worlds if they find another door. Some will go back and forth many times. Which is a pity, because I liked the idea of draining children of their miracle powers like some sort of portal world vampire, but there you go.

There’s obviously a deeper system going on here, with the worlds mapped out in directions like Nonsense and Logic, but this never really gets developed. Most of the interesting setup is dropped once the murder mystery begins. Speculative murder mysteries are my thing, but this one really didn’t work for me. I figured they’d go around finding out about everyone’s worlds, in the hopes of finding clues to the killer. What actually happens is they don’t do a lot of investigating, ignore the very obvious clues, then have the answer fall into their laps at the end. Note that this is a darker mystery, so the deaths are gory and the bodies are described in detail.

Nancy is a romantic asexual person. The book attempts to explain asexuality in basic terms, but in a way that is impersonal to Nancy. It’s like a definition for someone who hasn’t heard of asexuality. Which makes it a problem when asexuality is being defined as not having a desire for sex, rather than not feeling sexual attraction. This is true for Nancy, but not for all asexual people, so it would have been better if she’d made the description personal.

The discussion of romance is rather more confused. She makes it clear she did enjoy dating when she was young enough that there wasn’t pressure for sex. She directly states she’s not aromantic. Then she goes on to describe people as being like paintings, so she doesn’t want to date because she wouldn’t date a painting. In other words, she doesn’t get into romantic relationships with people she’s not sexually attracted to, which is no one, so therefore she doesn’t date. I’m not really sure what all that was about. Maybe Nancy was confused. Maybe the author was confused. I couldn’t tell which.

However, my biggest issue with her asexuality is that it’s portrayed as a bigger problem than having returned from the Halls of the Dead. Her parents push her to date and she thinks it’s inevitable in relationships that she’ll be pressured into sex. Nancy was put into sexually awkward situations just to show her being uncomfortable, like her roommate wanting to know if Nancy wanted sex with someone, and if she could masturbate whilst Nancy was in the room. The overall feel is that it would be impossible for Nancy to exist in society as an asexual person, and so she turns her back on society.

There’s an attempt to distance Nancy’s death and stillness from asexuality, by saying a lot of people in the Halls of the Dead were sexual. Which would work better if being asexual wasn’t a reason for her to want to return there and retreat from society forever.

Nancy states she doesn’t have an eating disorder, but that’s not how it looks. She’s attempting to survive on the food that sustained her in the Halls of the Dead. That means mostly fruit juice. It’s a fantastical eating disorder for an unusual reason, but she’s still restricting her portion sizes, and this is still going to kill her. However, as it isn’t addressed as an eating disorder, there aren’t any downsides. It’s shown as rather ethereal and mysterious, which was getting a little too close to glamourising eating disorders for my liking.

One of Nancy’s new friends is Kade, who is a trans boy. He was kicked out of his world when they realised he wasn’t a girl, his parents rejected him for it, and he also faces bigoted comments at the school. The anti-trans themes weren’t unrealistic, but were rather a downer, especially considering he’s the only one who couldn’t have the happily-ever-after of going back to his perfect world.

Jack and Jill are identical twins. It avoids some tropes (they’re not telepathic linked or treated as being identical people), but does fall into others (when one twin is good the other must be bad).

There are a few non-white characters. Sumi is Japanese. Christopher is Latino. The former doesn’t get much development time, it grated that she constantly called people stupid, and I didn’t like how her story ended. The latter has some development, though I noted his world was rather Day of the Dead, linking the world to his roots in a way that doesn’t happen for the white characters. These characters exist, but it’s the white characters who are centred.

There’s an attempt to make the school mostly being girls sound less binary by blaming it on imposed gender roles, but this didn’t work for me. Nothing about “boys will be boys” would stop them disappearing through a door in an instant. It’s possible this was intended to sound ridiculous, and Kade’s experiences would suggest the portal worlds prefer girls because they’re bigots rather than there being a real gender difference. But no character challenges this at all.

Also, I never did like the trope that adults are so vastly different from children, except for old people who are just like children. This is used to justify why adults (except for old adults) can’t cope with nonsense.

I liked the concept for this a lot more than the actual story. It’s a great idea. There’s some lovely writing in places and some of the worlds were very imaginative. But it doesn’t really come together as a whole. The inclusion reads too much like it’s there to explain terms for people who don’t know them, and has some implications I don’t like very much. This is tied up in a murder mystery that isn’t very mysterious.

The Seafarer’s Kiss – Julia Ember

3rd April 201812th June 2017 by Polenth

Seafarer's Kiss Cover First Published: 4nd May, 2017
Genre: Young Adult Fantasy / Novel
Available: Amazon.com | Amazon UK | Smashwords

Ersel dreams of life beyond the constrictive rules of her merfolk clan. Then she finds a human stranded on the ice.

This is a retelling of The Little Mermaid following the sea witch. It’s set in colder waters with a Norse mythology feel. It follows Ersel’s developing relationship with Ragna, the young woman she finds on the ice, and the deals Ersel makes with Loki to attempt to get what she wants.

One thing that bothers me in mermaid stories is when they’re written as though they take place on land. One moment someone is swimming, and the next they’re doing something that wouldn’t work underwater. This is one of those stories. The great hall is set out like a cafeteria with tables, benches and people carrying food on trays. A bowl is thrown at someone with force. People sit and lie down the way they would on land. I did consider the option of there being some air spaces, but the only one mentioned is in the great hall, and would be above the action. A spoofy story might get away with this, but it doesn’t work when there’s an attempt at realism.

A lot of animal references are thrown in to make it sound more underwatery. This came across as superficial, rather than the way someone who lived in the water would speak. They were mainly restricted to commonly known species, rather than showing a knowledge that goes beyond what the average land person would know. Some of them also didn’t really fit the setting. For example, the simile “as fast as a zebra fish”. Zebra fish usually refers to zebra danios, which are indeed known for fast speed and darting movements. Zebra danios are tropical freshwater fish. The most likely saltwater fish are lionfish, known for their fancy fins and being venomous. These are also tropical fish. Neither really fits well into an arctic setting, and the fast-moving one is a fish merfolk wouldn’t have seen.

Merfolk culture is a restrictive patriarchy with binary gender roles. Young mermaids are rated on their fertility and considered broken if they’re infertile. The mermaids lay eggs, but the social and biological implications of that aren’t really considered. This is another time when things felt more like they took place on land, as the eggs are incubated more like bird eggs, rather than fish eggs. One of the big issues underwater is eggs rotting, so there are different considerations for fish nests.

Ersel is bisexual, which is one thing that isn’t seen as a problem in merfolk society. I wouldn’t say the relationships shown are particularly healthy. Havamal is controlling, which is addressed. Ragna and Ersel end up attacking each other. The abusive dynamic of this isn’t really addressed. It also felt like Ragna and Ersel’s relationship was mainly physical. They don’t really talk that much nor have time to form an emotional bond. It’s more about how hot it is to kiss and have sex.

Loki is genderfluid. This fits how they’re shown in mythology, but the way this is handled is not good. Loki is not the average trickster type, who can help and hinder, and is rather morally grey. Loki is evil all the way down. They’re known as the god of lies to the merfolk and everything they do is intended to be as cruel as possible. They’re the only genderfluid character in a story filled with strict binaries, and they’re the villain attempting to harm all the binary gender folk. I also disliked the strong focus on trying to gender their body anytime they appeared. Ersel sees women as having soft curves and men as having rippling muscles, so Loki’s gender is constantly being judged by those standards. This behaviour does also suggest a person isn’t really non-binary if they don’t have a body deemed to look non-binary (or the ability to shapeshift between bodies).

The story is mixed when it comes to body positivity. Ersel is fat and that’s shown as a good thing as it keeps her warm. Fat shaming isn’t a thing in merfolk society. But when she’s a human, she suddenly has slender legs. What goes for a mermaid’s body doesn’t seem to apply for a human. There’s acceptance both of Ersel’s body changes during the story, and a character who has an amputation, but the king is said to be getting ugly on the outside to match his cruel inside. So the narrative doesn’t get away from shaming bodies when someone isn’t liked.

There are a number of mute characters, though most aren’t really explored in depth. Loki is the main one, who steals voices to replace their own. Unlike the gender issues, there are other mute characters (the people who have voices taken by Loki and one other). That means it doesn’t come across as saying all mute people want to steal voices. However, I’d still have liked more depth on some of them. One in particular only appears when convenient to the plot and could have been introduced earlier.

Outside of my worldbuilding and character issues, there were parts of the story I liked. Once it got going, with Ersel trying to beat Loki at their own games, it got a lot more interesting. It wasn’t enough to overcome the other issues for me, but it did improve a lot in the second half. It was good that Ersel’s not-like-other-girls thing is eventually addressed. She’s not actually the only one who feels restricted by the society, so she’s a lot more like other girls than she realises.

I’m tougher than most on underwater books getting being underwater right, but even without that, there were issues. The portrayal of genderfluid people as liars and the abusive relationship dynamics were not good. The setting idea was potentially interesting, and nothing stood out as a major problem with the bisexual representation, but that wasn’t enough to carry it for me. Note there are off-screen rapes and pregnancy body horror, among other darker themes.

[A copy of this book was received from the publisher for review purposes]

Sea Foam and Silence – Lynn E. O’Connacht

10th June 2017 by Polenth

Sea Foam Cover First Published: 9th June, 2016
Genre: Young Adult Fantasy / Verse Novel
Available: Amazon.com | Amazon UK

A little mermaid watches the tall-crabs and starts to think they might be people too, but heading to land to find out will come with a cost.

This is a retelling of The Little Mermaid written in free verse. It’s hard to judge length with long poetry, but the book is around novel length. Fewer words on each page means it’s a relatively quick read.

The mermaid is set the deadline of a year to find love or be turned into sea foam. There are three main sections, with the first covering her life at sea, the second the time up to the deadline, and the third the time after. I liked that it didn’t only focus on the time on land looking for love. It allowed the contrast between life as a mermaid and life on land to be clear, as well as considering new challenges once the initial situation is resolved.

The mermaids were distinctly mermaids, rather than feeling like the author wanted to write humans with a few references to having a tail (which is unfortunately what too many mermaid stories end up doing). They live in a group of sisters, though it’s noted some become fathers during mating time. Among mermaid culture, it’s not considered odd that some don’t take direct part in mating. It’s only on encountering human culture that things start to get complicated, with human concepts of love, marriage and gender. Hunting humans for food is a stable part of their lives, which the little mermaid starts to challenge, but it isn’t portrayed in a binary good and evil way. The same goes for the witch who makes the bargain that gives the mermaid legs. The witch obviously has an agenda of some sort, but what that might be is ambiguous. It’s not a story with a villain, but one that deals with the more everyday difficulties of finding a place in the world.

The goal of finding love is difficult as the mermaid is confused about what that means. There are conflicting messages between all love being love and romantic love being the only one that counts. The narrative falls on the side of love being love in any form. There are also differences between human cultures in how things are viewed, rather than making this only a mermaid versus human issue.

Though it’s clear that the mermaid is asexual, I was less certain about how she viewed romantic attraction. It’s debatable where she falls on the romantic / demiromantic /grey-romantic lines, but she did appear to only potentially consider people that way after knowing them. There is also an aromantic asexual character and a lesbian, along with a polyamorous queerplatonic relationship being shown.

Every step she takes on land causes pain, so she has a fantastical chronic pain condition. At first, this means it’s difficult to walk, but she slowly adapts to the pain. It was good that there’s no magic cure here, though I would have liked to see her having bad pain days when she couldn’t do everything she wants to do. It’s not that it’s unrealistic to adapt to a certain level of pain or to find some things distract from the pain, but even the best pain management scheme will have times when it doesn’t work out.

She is mute and learns sign language to communicate. There’s one instance where someone expresses frustration at her not being able to speak verbally. This is in part because her early sign language is fairly crude and that makes communication difficult, but it’s still a moment I found jarring. I did generally like the sign language though, as well as the use of emoticons in places to convey facial expressions.

There’s a reference to people having different skin tones, but the main characters appear to be white. The mermaid doesn’t have much of a concept of race, so most descriptions are vague.

This is an enjoyable book with a focus on the issues of finding a place to belong. The free verse style works well to portray how the mermaid thinks and her confusion as she tries to figure things out. The chronic pain aspect is where I think it could have used a bit more exploration. The asexual and aromantic aspects were the strongest. Overall, this is worth a read for anyone who loves mermaids and verse novels.

Noteworthy – Riley Redgate

20th June 20176th June 2017 by Polenth

Noteworthy Cover First Published: 2nd May, 2017
Genre: Young Adult Contemporary / Novel
Available: Amazon.com | Amazon UK

Jordan Sun has failed to get any parts in school musicals because of her deep voice. When she sees an advert for all-male a cappella group the Sharpshooters, she disguises herself as a boy and auditions as a tenor.

I’m generally not a big fan of books where someone pretends to be a different gender. It’s not uncommon for such books to use trans themes in ways that are comfortable for cis readers, but not so great for trans readers. Which might raise the question of why I wanted to read this one. The answer is Jordan’s deep voice. I wondered if she might be intersex, and therefore, if the book might tackles issues of binary sex. I was also interested because the musical world is very strict on the idea of sex binaries when it comes to voices, so it seemed like a good setting for such a story. The book didn’t really do what I was hoping, but those were my thoughts behind why I wanted to read it.

The plot revolves around training for an a cappella competition, with the hopes of winning a place on a tour. I wouldn’t say it’s the primary focus though, as it has more of a character focus with Jordan getting to know the other members of the group. It’s generally paced well, noting that it is the sort of story with a slow pace. Where it falls down is the pacing after the competition. It feels as though the book was intended to be longer, but ended up with just a few scenes trying to cover everything.

The two characters with the most development are Nihal and Isaac. Jordan becomes close friends with both. Nihal is a kind person who has a few similarities to Jordan, such as studying outside of the music school. He’s a Sikh, Indian American, and gay. Isaac says things without thinking regardless of who it hurts, which I was supposed to find funny and endearing, but just found obnoxious. He’s Japanese American. In both cases, Jordan discovers things about their lives and families. She describes what they look like clearly. I left feeling I had a good grasp of these characters.

Erik, Jon, Theodore (nicknamed Mama) and Marcus had a defining character trait but not a lot else. Erik’s main feature is he’s short and looks very young, whilst having a deep bass voice. Jon is very rich and turns out to be dyslexic, which is mainly noticed because he was held back a few years when he was younger. Jordan notes he’s a slow reader, but it’s not portrayed as meaning he can’t read, which makes a change. Theodore is initially introduced as carrying wet wipes around and liking clean surfaces, but he didn’t get enough development to judge if that connected to any non-neurotypicality or not. He’s fat and the book mainly avoids shaming him for that, outside of someone outside the group being nasty. Marcus likes political stuff and I have no real image of what he looks like. In general, characters in this category were light on description, so I ended up trying to piece it together from odd comments. I’m unsure about things like race.

Trav is the musical director of the group and sits somewhere between the two in terms of development. Jordan doesn’t get to know him that well, but I did remember him as a distinct character, whereas I was forever getting the vague characters mixed up. Trav has anxiety. He’s described as having dark skin at one point. That’s often used as a way to say a character is black without saying they’re black, which I think may be the case here.

It’s odd how the book has some characters who are described very clearly and some who are so very vague. Isaac and Nihal get described repeatedly, but I was left searching through for descriptions of the others. I may have missed something, as the references were spread out and infrequent.

I did like that the characters aren’t perfect and there’s pushback to imperfect things they say. For example, when one has this thing about women loving alpha men, it isn’t just Jordan who thinks that’s nonsense. Theodore is given a nickname he hates, which Jordan takes for granted, until realising Nihal won’t use the nickname because he was asked not to use it. However, something that didn’t get any pushback was using moron, which sticks out particularly when there’s a dyslexic character who has a reasonably chance of having been on the receiving end of slurs like that.

The strongest area for me was the class representation. Jordan is from a poor family, who were made poorer after her dad was in an accident. It talks about some of the issues with being poor, such as benefit schemes not allowing people to save money, thus ensuring they stay poor. There’s the intersection of her family being Chinese immigrants and the system being designed to make sure they never entirely manage to get things together. She also feels out of place in a wealthy school environment where most people come from middle to upper class backgrounds. It’s something I can relate to, as going to university was a big struggle for me, because no one else in the family had ever done it. Things people took for granted about university culture were very alien to me.

Jordan is clear that she’s cisgender from the start. She does question her gender and presentation, though decides she’s a cis girl. Questioning gender isn’t something restricted to trans people, so I liked the general idea of this. Though I’d note it’s not necessary to do the whole girl-disguised-as-a-boy thing to do so.

There is an attempt to address potential appropriation of trans experiences in the text, but the way it’s handled didn’t work for me. Jordan considers how trans people might feel about what she’s doing, and whether there might be unintended consequences for trans people if she is found out. It could mean increased attempts to police people’s gender, for example. That passage showed some thought about it, but the trans people she mentions as knowing (one trans girl and one genderqueer person) are minor references. Acknowledging that something might be erasing or appropriating trans experiences does fall rather flat in a story that doesn’t have prominent trans characters. Acknowledging it is really only the start. It also felt that outside of that genderqueer reference, gender was mainly handled as a binary. Jordan has her real girl self and her fake boy self, with nothing between, so the mention of a non-binary person is a blink-and-miss-it moment.

I’d note this binary gender vibe also got into the book presentation. The pre-release version I was given had male and female symbols on the cover. These were mixed with notes that came out of two different singing mouths. I wasn’t fond of the use of the binary symbols, but they were in all different colours, which suggested a spectrum. They were also mixed together, as each mouth had both symbols. The official release cover turned all the male symbols blue and the female symbols pink. It made one mouth have all the male symbols and one all the female. It also added extra copies of these symbols to the chapter headings. It’s like between pre-release and final release, someone decided to up the binary to the max. Authors with large publishers don’t control their cover or book design, but it doesn’t stop these decisions potentially impacting people who pick up the book. It also makes it very clear how the publisher views the story.

Jordan is bisexual and had a long-term relationship that fell apart. I liked that it challenges the idea of a first partner being the one forever and touches on the problems of getting too focused on a romantic relationship. Her whole world revolved around her ex-partner, which meant when things fell apart, she didn’t have any close friends and was left struggling alone. It was a more realistic portrayal of love than the idea that everyone meets their one true love as a teenager and friends are no longer required.

The new potential love interests weren’t so great. They changed their level of interest depending on whether they thought she was a boy or not. In other words, the most important thing wasn’t who she was as a person, but what they assumed about her body. I didn’t relate to any of this. I’m sure this does match some people’s experiences, but I just found it a bit freaky that someone would stop/start loving you because you’re not the gender or sex they assumed. I couldn’t really get behind a relationship that formed on that basis.

I wasn’t fond of the way gay characters were handled, because it does veer into the unhappy gay thing. Given the references to how many queer people the school was supposed to have, I’m sure one of them could have had a happy ending.

On to what I was hoping to find, Jordan does have traits that could mean she’s intersex. Her voice is deep enough that she puts on a higher voice at school, she’s tall (and taller than other women in her family), has a small breast size, has facial features like her father, and started puberty early, which all together can be pointers to being intersex. But this isn’t discussed. Not even at a level of considering that she doesn’t fit in the sex binary very well or that such a binary exists.

The book does touch briefly on musical attitudes to vocalists, but this isn’t taken all the way. It’s not acknowledged that she wouldn’t have felt the need to do something like that if she’d been recognised as a tenor in the first place. Rather than simply not casting her in anything, her teachers could have suggested she auditioned for the male roles. The focus is strongly on judging Jordan’s reaction to the system, rather than the system. Even when someone makes a positive judgement, it’s still missing why she ended up in that position. She still gets reclassified to a contralto, because women are contraltos and men are tenors. Which makes no sense as a position as she had been singing as a tenor with no one considering she was anything else for months, so it can’t be argued she had a different tonal quality to a tenor. But even Jordan doesn’t comment against this.

This book is a tricky one when it comes to recommending it or not, as it does some things well, and others not so well. The cast is diverse, including multiply marginalised characters, but there are odd holes. Like having a character who appears to tick off all the boxes for being intersex, but never mentioning it. Or mentioning a trans girl and a genderqueer person when there are themes about gender identity, but not actually having those characters appear. Or being vague about the black character being black when the Asian characters have their races clearly stated. It’s one of the better books I’ve read dealing with the trope of a girl disguising herself as a boy, but I didn’t feel it really rose above the common issues of that trope.

[A copy of this book was received from the publisher for review purposes]

Keeper of the Dawn – Dianna Gunn

19th July 201912th May 2017 by Polenth

Novella Cover First Published: 18th April, 2017
Genre: Young Adult Fantasy / Novella
Available: Out of Print

Lai has trained all her life to become a priestess, like her mother and grandmother before her. When she fails the test, she runs away and finds her people aren’t the only ones with that religion.

This is a novella of unfortunate implications. That’s going to take some explaining, so I’ll start with the simpler stuff. I’m also not talking about much which isn’t in the book description, but I’d note the official description covers most of the plot.

One thing I did like is the two cultures with the same religion are both shown as being equally religious. Often in these situations, there will be one group who are the true believers and one group with a corrupted version. Here, the goddesses are watching over them both. There isn’t one true version of the religion and they both have holes in their history knowledge.

The writing flowed along well enough. Though the story was predictable, that’s not always a bad thing for a light read. It has some adventure and some romance, which is what it promised. It did tend to jump huge chunks of time, which left gaps in the relationships and worldbuilding. None of that would have been that bad, if it wasn’t for the rest.

There’s a black/white means bad/good thing going on from the start, though it’s more subtle at the beginning. Lai is attacked by someone with black hair, when Lai has white-blond hair (described as silver and as blond at various points). The community is mostly lighter people, so the darker-haired antagonist is noticeable. Given a choice of horses, Lai chooses the white one as superior to the brown and black ones. On their own, these things might not register, but then Lai is off visiting the lands to the north, and the unfortunate implications really get going.

To understand my reservations, there needs to be some understanding of a group of connected stereotypes. They’re connected by superficial similarities in appearance, rather than the groups involved having much else in common. Often tanned, curly dark hair, hooked nose, sometimes with other features like large ears, thick lips, or tiny eyes. Things that set a person apart as different compared to lighter Northern Europeans. They can’t be trusted, they’re greedy, the men will lust after women, the women are temptresses, and they’re probably all doing some dark magic on the side. There are some variations on the theme, but it’s often difficult to separate exactly which group is being targeted, because it’s a combination of all of them. Commonly included are Jewish people, Romani people, and pagans / witches. The last of those makes more sense knowing that the early inhabitants of the British Isles had darker complexions, with pale blonds moving in later. So, with some vague handwaving to justify it, obviously all people with darker complexions are doing evil witchcraft. At a minimum, they’re very bad people.

When Lai crosses the border, she ends up working for a man called Calvin. He is a travelling merchant and is shifty from the start. I was thinking Romani stereotypes at this point. He also makes suggestive comments to Lai, despite him being married and her being a teen. This could be falling into the Romani men lusting after pure white women thing (and it happens again later, with a travelling bard, because you can’t trust travellers). But the lust thing can also be applied to Jewish men. Which brings me to how he’s really rich and hoarding wealth, which is a common Jewish stereotype. This is reinforced by northerners being monotheists. To finish off, the magic in the north has shady stuff like blood oaths going on, which comes back to the paganism and witchcraft connections.

This is all tied up with the physical side. There aren’t any hooked noses here, but there are beady eyes and northerners are overall darker (especially compared to white-blond Lai). Calvin is also fat, and described as a disgusting and gluttonous eater. An anti-fatness stereotype in itself, but one that is frequently associated with the greedy Jewish stereotypes.

I’d also note the trainee in Lai’s new home who is violently against her also happens to be the one with curly black hair. Everyone described as having black hair is antagonistic to Lai in some way.

These things are so common they’re often not noticed. Or when they are, people argue that they’re too general to pin down to one specific group as the target, so they’re not really targeting anyone. I agree the former can be tricky, as it often covers a mashup of different stereotypes. I’m sure people can pick out some I missed. But it doesn’t make the latter true. It just means the targets are widespread.

More obvious as an eyebrow-raiser is she’s a desert nomad from a culture that made amazing Ancient Near East / Rome inspired structures, and her favourite weapon appears to be Chinese butterfly knives under another name, but people from those cultures aren’t in the story. The cultural aspects are there, but not the people.

The reason I picked up the book is Lai is asexual, which is what I thought I’d be talking about. Instead, you got a long ramble about the ways stereotypes interact. But this is partly because being asexual didn’t come into it much until later. I’d have liked more tell than show here, because showing meant creepy sexual situations. Men tried to get Lai to have sex with them. The new community happens to have a fertility festival where people are supposed to have sex. It’s sort of optional, but not really, as Lai has to go to impress people and she’s coerced into dancing. The positive side is she isn’t coerced into sex and her romantic partner is okay with it once explained, though it does come with the statement that normal couples have sex. Not wanting sex was okay, but also abnormal. This was a mixed bag for me as a result. I’d have liked it a whole lot more without the creepy stuff and normality statements.

I didn’t note any disabled characters, but it’d be a bad world to be disabled, as health and fitness are assumed to be because of the gods. Priestesses have to be able to win battles to prove they’re favoured. Disease is assumed to be a divine punishment.

The worldbuilding is very binary, as men do this, and women do that, and it’s innate rather than simply being culturally enforced. In short, I don’t have a place in this world, except perhaps as the beady-eyed villain. But it does have two women in a relationship and one’s asexual, and for some readers, that might be enough.

[A copy of this book was received from the publisher for review purposes]