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ngfs92's reviews
313 reviews
Warlock in Training by TJ Nichols
1.0
I originally discovered Warlock in Training from a Twitter review, which offered a sales pitch similar to “Do you like queer fantasy, environmentalism, deals with devils, and a story where the bad guys might actually be the heroes?”
Yes, I said, I do!
As I began the novel, I realized that while that Twitter review was right to call the story fantasy, there was no mention that erotica applied equally. Taken by surprise and then intrigued, I continued, and found myself looking forward to the erotic scenes in the book, which are Nichols’ strength as a writer. The novel reads quickly, with the first half well balanced between story progression and intimate scenes. The second half, however, lacks in sensuality and focuses on the subpar plot and world-building.
Before this, I had no real experiences with erotica between the occasional glimpses at select fan-fiction. What I appreciate in how Nichols write sex is how involved the scene is in terms of action, dialogue, and the character’s internal workings. The characters engage with each other on all three of these levels which propels the scene. Nichols also effectively utilizes the fantasy setting to add another layer to these scenes, in which magic responds to sex in fantastical ways. Demonside as a magical setting, shaped by and responding to Nichols’ magic, is also an interesting world to explore.
Nichols also writes kink and consent with finesse. One of the protagonists, who acts as the dom, enjoys knife-play during sex, and first gains his partner’s consent before easing him into sexual cutting while constantly checking on his comfort. Nichols also writes characters who have an open relationship, and writes how they communicate and agree upon the boundaries of their relationship with each other and other partners.
As a character writer, Nichols succeeds in creating rich interior spaces for the characters. We read a character’s indecision and have a balanced view of why the character feels conflicted based on where they come from.
Unfortunately, Nichols depends upon these interior monologues to advance the story. Single lines of dialogue are spaced between paragraphs of internal response, which slows the story and reduces the action. Many of these characters are also so reasonable in their thoughts that any potential conflict de-escalates within a page. At the very worst, another character is skeptical of another’s methods and, within a few chapters, discovers the protagonist’s plan did work all along and accepts this just simply.
While much of the conflict takes place in “Humanside,” the human villains and allies have no clear motivations or reason. At best, they are willfully ignorant and willfully evil. The Humanside setting, Vinland, also sets up a conflict between the Warlock elite, the Wizards and a magical rebel force which occupy all of the human stage while constantly referring to the non-magical humans, which make up a large majority. These normal humans seem to also treat magical humans as second class citizens, even though demons regularly break through to Humanside and only the magical humans appear to stop them. This orientation of a magical minority is familiar in fantasy writing, but in the novel is jarring and unaccounted for. Many interesting threads form the outline of the world and plot, but rather are a collection of frayed loose ends as opposed to a cohesive tapestry.
Overall, Warlock in Training offers little in regards to action, conflict, and story outside the sexy bits where I found myself wanting more.
Yes, I said, I do!
As I began the novel, I realized that while that Twitter review was right to call the story fantasy, there was no mention that erotica applied equally. Taken by surprise and then intrigued, I continued, and found myself looking forward to the erotic scenes in the book, which are Nichols’ strength as a writer. The novel reads quickly, with the first half well balanced between story progression and intimate scenes. The second half, however, lacks in sensuality and focuses on the subpar plot and world-building.
Before this, I had no real experiences with erotica between the occasional glimpses at select fan-fiction. What I appreciate in how Nichols write sex is how involved the scene is in terms of action, dialogue, and the character’s internal workings. The characters engage with each other on all three of these levels which propels the scene. Nichols also effectively utilizes the fantasy setting to add another layer to these scenes, in which magic responds to sex in fantastical ways. Demonside as a magical setting, shaped by and responding to Nichols’ magic, is also an interesting world to explore.
Nichols also writes kink and consent with finesse. One of the protagonists, who acts as the dom, enjoys knife-play during sex, and first gains his partner’s consent before easing him into sexual cutting while constantly checking on his comfort. Nichols also writes characters who have an open relationship, and writes how they communicate and agree upon the boundaries of their relationship with each other and other partners.
As a character writer, Nichols succeeds in creating rich interior spaces for the characters. We read a character’s indecision and have a balanced view of why the character feels conflicted based on where they come from.
Unfortunately, Nichols depends upon these interior monologues to advance the story. Single lines of dialogue are spaced between paragraphs of internal response, which slows the story and reduces the action. Many of these characters are also so reasonable in their thoughts that any potential conflict de-escalates within a page. At the very worst, another character is skeptical of another’s methods and, within a few chapters, discovers the protagonist’s plan did work all along and accepts this just simply.
While much of the conflict takes place in “Humanside,” the human villains and allies have no clear motivations or reason. At best, they are willfully ignorant and willfully evil. The Humanside setting, Vinland, also sets up a conflict between the Warlock elite, the Wizards and a magical rebel force which occupy all of the human stage while constantly referring to the non-magical humans, which make up a large majority. These normal humans seem to also treat magical humans as second class citizens, even though demons regularly break through to Humanside and only the magical humans appear to stop them. This orientation of a magical minority is familiar in fantasy writing, but in the novel is jarring and unaccounted for. Many interesting threads form the outline of the world and plot, but rather are a collection of frayed loose ends as opposed to a cohesive tapestry.
Overall, Warlock in Training offers little in regards to action, conflict, and story outside the sexy bits where I found myself wanting more.
Space Opera by Catherynne M. Valente
2.0
Aptly described as a mixture of THE HITCHHIKER’S GUIDE TO THE GALAXY and EuroVision, with a punny title, excellent cover art and a beguiling slogan (“In space, everyone can hear you sing”), Catherynne M Valente’s SPACE OPERA promises a silly read. Unfortunately the silliness occupies so much of the glammed up stage that behind the theatrics there is little action, and less story.
The premise of SPACE OPERA is that after a terrible intergalactic war, the sentient species of the universe have formed a sort of peace treaty where they meet every 46 years to compete in a musical competition, the Grand Prix, where the loser is no longer recognized as sentient and faces extermination. Humankind has just been invited, and while not the aliens’ nor Earth’s first choice, a washed-up glam rocker must get his band back together and attempt to not lose the competition.
The story itself is solid, and the characters are well-developed. Decibel Jones is a fantastic anti-protagonist who continually makes poor decisions, but ones that contribute to both his character development and the plot. Fans of Valente will enjoy reading her masterful tactile descriptions, so vivid you can feel and smell them with the mind’s nose and hands. In the same way the Valente uses repetition to achieve a fairy tale structure in her 2011 novel DEATHLESS, Valente writes in Adams’ style of long, long, and longer sentences full of narrative asides in a loving, beautiful homage to Adams’ work.
However, these long sentences are also the novel’s undoing. The novel is so intentionally over the top with its long descriptions that the plot gets lost in it. Clocking in at roughly 300 pages, the actual plot only occupies about a third of the novel. The other two-thirds are used to help set the stage, to explain what the other sentient species have done, but it’s so much information that once the various aliens do appear, you can’t quite remember which one was from the planet that did that one weird thing next to the wormhole maybe? SPACE OPERA reads like one long, never-ending meme.
This is not to say SPACE OPERA is a bad story. It is a testament to hope in the face of hopelessness, and for perseverance in the face of suffering. Yet the writing is so focused on the style that the reader drowns in the paragraph long sentences. Had the novel focused solely on Jones’ storyline from his present onward, Space Opera would be an absolutely amazing novella and would have earned a much higher rating. As it is now, it’s just too much.
The premise of SPACE OPERA is that after a terrible intergalactic war, the sentient species of the universe have formed a sort of peace treaty where they meet every 46 years to compete in a musical competition, the Grand Prix, where the loser is no longer recognized as sentient and faces extermination. Humankind has just been invited, and while not the aliens’ nor Earth’s first choice, a washed-up glam rocker must get his band back together and attempt to not lose the competition.
The story itself is solid, and the characters are well-developed. Decibel Jones is a fantastic anti-protagonist who continually makes poor decisions, but ones that contribute to both his character development and the plot. Fans of Valente will enjoy reading her masterful tactile descriptions, so vivid you can feel and smell them with the mind’s nose and hands. In the same way the Valente uses repetition to achieve a fairy tale structure in her 2011 novel DEATHLESS, Valente writes in Adams’ style of long, long, and longer sentences full of narrative asides in a loving, beautiful homage to Adams’ work.
However, these long sentences are also the novel’s undoing. The novel is so intentionally over the top with its long descriptions that the plot gets lost in it. Clocking in at roughly 300 pages, the actual plot only occupies about a third of the novel. The other two-thirds are used to help set the stage, to explain what the other sentient species have done, but it’s so much information that once the various aliens do appear, you can’t quite remember which one was from the planet that did that one weird thing next to the wormhole maybe? SPACE OPERA reads like one long, never-ending meme.
This is not to say SPACE OPERA is a bad story. It is a testament to hope in the face of hopelessness, and for perseverance in the face of suffering. Yet the writing is so focused on the style that the reader drowns in the paragraph long sentences. Had the novel focused solely on Jones’ storyline from his present onward, Space Opera would be an absolutely amazing novella and would have earned a much higher rating. As it is now, it’s just too much.
In the Vanishers' Palace by Aliette de Bodard
3.0
de Bodard’s reimagining of the Beauty and the Beast as a queer, dystopian, Vietnamese story works exceptionally well. This reimagining opens up the story beyond its traditional themes, looking forward to how the future is built. The palace from which the story takes its name is a wonderfully imaginative setting, and I loved how de Bodard writes magic. I would have liked an extra chapter or two for more development and growth for the main character.
Forest Dark by Nicole Krauss
3.0
Krauss’s prose is, as always, fluid and beautiful. I feel I would have liked this book much more if I’d read Kafka.
Orleans by Sherri L. Smith
4.0
A compelling, unique voice and a unique, memorable, dystopian setting. Smith excels at creating mysteries that never see resolution—and are all the more satisfying for it.
Friday Black by Nana Kwame Adjei-Brenyah
5.0
A visceral, impactful debut book and short story collection. Exceptionally well written. His short stories about retail are extremely cathartic.