Shortly after I took this photo, a cyclist, in that very Berlin, not really paying attention “I’m just riding, me,” way, rode up the grot covering the bike path, realised they had to jank hard right around the perversely located orange rubbish bin, then then hard left down the temporary construction ‘alternate route’, wobbled precariously as they saw the old Muslim woman they were about to run into who’d paused where footpath and bike lane merged and vanished into a cattle-race, wobbled right, found some dickhead had left a shitty ride-share e-bike in the lane, wove drunkenly to an almost halt wondering where exactly the town planners had intended them to ride, before continuing on in that also very Berlin, “Passive acceptance of basic shit this city can’t even manage to do right”. The old woman cut across the street, thus avoiding the endless wait at the pedestrian crossing.
Continuing with this amended way of blogging about what I’m reading, another small pile of books I picked up a couple of weeks ago and am currently getting through.
Akala came up in my Twit feed a while ago, I watched him utterly destroy at least one idiot white British politician on TV, decided he fitted into where I’m reading at the moment in combinations of UK / London / Colonialism / Black / Grime history, realised he’s the brother of the deadly Ms. Dynamite, laid into it at the same time I was reading Dan Hancox’s Inner City Pressure: The Story of Grime. Pretty much highly recommend Natives: Race and Class in the Ruins of Empire, even though he’s kinda weak on the feminism / queer side of things — bit of a cishet male bias there, mate — but he’s talking from his own experience growing up as a black boy and man in London, and it’s grim shit we need to hear and read.
Small aside, I went on a Giggs binge last night. First time I heard him was JME’s and his Man Don’t Care. Dasniya said she liked his voice more, something kinda menacing and slow but also “cinnamon tea”. He was live at Roundhouse earlier this year, and closed with Whippin’ Excursion, just watch the crowd fucking lose it when the bass drops, it’s a madness. Then go back to Talkin’ da Hardest in 2007 or even further, 2003, dejavu FM pirate radio and the Conflict DVD. That’s where grime came from, the rooftops of council housing tower-blocks (yeah I know Giggs isn’t grime, but he works with a lot of grime artists, so, keeping it simple here), rough as guts and dead end and set up to fail and go down or die. So belabouring a point here, the political and social significance of someone like Giggs filling the Roundhouse and having a packed crowd go the fuck off … gives me shivers. Good, deep, world-changing shivers.
I haven’t read Charlie Jane Anders’ Six Months, Three Days, Five Others yet. But I’ll always read her. The more of my sisters in this game, the better.
Corinne Duyvis’ On the Edge of Gone I probably heard of from the usual places, io9, or someone in my Twit feed. Reasons for reading: it’s sci-fi, she’s queer, lives in Amsterdam, is autistic. I’m not sold on the ‘science’ part of the science-fiction yet, set in 2035 and interstellar generation ships are a somewhat mature technology — this might be a ruse, but still, large-scale ships for hundreds or thousands of people, able to launch from Schiphol Airport seems improbable for 17 years from now. Maybe I’m reading that part wrong. Nonetheless, an autistic main character — and you all know my love of Feersum Endjinn and Whit. (I’m not even going to tell you about my own neurofuckery and my spreadsheet which I use to remember people I’ve met.)
Obviously I bought Deji Bryce Olukotun’s Nigerians in Space for the title. I’m still kinda on the whole, “I don’t really read menz” thing, for so long it’s not even a thing, it’s more of a “I read women authors and non-binary authors on the feminine side of things,” because obviously I want to see my people represented and that means all my people and their people and their people’s people. So sometimes I read a book by a guy. I have this habit, where I read an author’s acknowledgements and count the names and divide them into male-ish, female-ish, and I dunno. Pretty reliably, male author’s female-ish names count tops out around 30%, ’cos we all know 1/3 female feels like half or more than half in the real world. It means I tend to read male authors with suspicion, it’s a question of do they really genuinely care about and practice what we currently call intersectionality, or are they fortunate enough (truly though, I mean impoverished) to not have to make it a necessary part of their lives. So far, then — I’ve only read the first dozen pages — Nigerians in Space is a hilarious sci-fi thriller of straight men making really, really bad irreversible decisions.
Lucky last, Nuraliah Norasid’s The Gatekeeper. This one via JY Yang and / or various Twit mentions (I’m taking a long pause from the Twit, ’cos it’s not good for my moodiness or neurofuckery), and / or a bunch of South-East Asian blogs in my feed. I dunno what’s happening over Singapore way, but the sci-fi fantasy spec-fic stuff I’ve been reading is on fire. This is her first novel, and reminded me of Sofia Samatar’s The Winged Histories (or maybe more A Stranger in Olondria). There’s a lot I love in this, but some poor narrative decisions that seem more about manufacturing drama leading to an uncomfortable conclusion where the main character is incarcerated and pregnant and we know her children will be taken away from her to be experimented on. Which is an ongoing reality for colonised indigenous peoples, but here it was more in the vein of the awful Joss Whedon Black Widow trauma porn backstory. There’s a much tighter, more cogent story here that doesn’t rely on weak tropes, and which finesses out the cataclysmic acts of the main character and her sister (I’m ignoring the rich boy, ’cos he could be dropped and the story would only grow). First novel though, another author I’ll read again.
I read Hattie Collins and Olivia Rose’ This Is Grime late-last year, a few months after Grime4Corbyn and the UK elections had happened. Any book about Grime has to come up against that one, and everything I said about their book and Grime still stands. I’m not in the mood lately for writing long book ‘reviews’ or whatever, so two things, how and why, I keep returning to for This is Grime and Dan Hancox’ Inner City Pressure: The Story of Grime. The why is to understand one part of late-20th and early-21st century colonialism and racism, how New Labour and the Tories, gentrification, racial profiling, defunding education and social services, continue an unbroken agenda of white supremacism targeting immigrants and generations of children of immigrants like unfinished business. The music comes from being young and black and poor and treated like shit in your own country for the long haul. The how is to read these books as companions, flipping between reading and listening, starting Inner City Pressure with the Conflict DVD, Roll Deep on pirate radio Deja FM in 2003. It’s on YouTube, 36 minutes of madness. Pay attention to the names and the crews and the places, all of it’s on YouTube somewhere. Listen to the words and the noise, especially the earliest stuff. Maybe it won’t do anything for you; for me, it’s like coming up for air.
Who put this there, Emile? It’s all new.
The Cultural Revolution: A People’s History, 1962–1976 is Frank Dikötter’s final book in the trilogy covering China and Chairman Mao from 1945 until his death in 1976. An earlier, much shorter work covering the Republican era makes it something of a quartet. I haven’t read his work prior to these four — he’s been publishing on China for 25 years, and has been Chair Professor of Humanities at University of Hong Kong since 2006. He’s one of a handful of China historians who I will always read and look forward to whatever they write next.
I started with him in 2010 with The Age of Openness: China Before Mao, followed that up a few months later with the first proper of the trilogy, Mao’s Great Famine: The History of China’s Most Devastating Catastrophe, 1958–62, then The Tragedy of Liberation: A History of the Chinese Revolution 1945-1957 in 2013, and finally this. Unlike Mao’s Great Famine, or The Tragedy of Liberation, the Cultural Revolution has been covered by far more historians, and sits fresh in the memories of people in their forties. Writers like Liao Yiwu (The Corpse Walker, God Is Red, For a Song and a Hundred Songs) and others of the large crop of early-’00s writers covering Tiananmen Square and post-Tiananmen politics if not explicitly writing about this period nonetheless reference it. And if anything this is its weakness.
It’s difficult to say this work has a weakness, when I think the previous two are some of the finest and most meticulously researched in any of the subjects I read (I’m holding the likes or Caroline Walker Bynum and Susan Mann as my exemplars), it might simply be my familiarity with the subject, both from reading and from friends in China. For most readers, especially if they slam the trilogy one after the other it’s a horrifying, relentless work of history, and that has no peer I can think of for 20th century Maoist China.
One thing I am unsure about though, and I’ve found this in other writers on Mao (like Jung Chang) and on the other singular figures of 20th century despotism (like Hitler, Stalin, Pol Pot) is the ease with which so much power and capability is assigned to them. What I remain unsure on in all my reading on China under Mao is the complicity of others. It’s that question, if he was indeed an individual in all this why didn’t they stop him? If not, why, during those three decades of his rule, did they not see the repeating patterns of behaviour and rule, and not make the same bad decisions over and over. Were they fucking stupid? It’s not that there’s an absence of resistance in this book, in fact there’s plenty of it once we get down to the regional and village levels, but perhaps what I’d like to read is a history of Mao’s China without him in it.
What The Cultural Revolution illustrates, in a way I think no other work on the subject has done so clearly, is that this period was essentially a continuation, or a reinvigoration of the Great Leap Forward. Certainly it was a total war against culture and history, and it demonstrates just how rapidly a culture can be erased (a couple of weeks if you’re curious as to how fast your world can vanish), but the preparations for nuclear war, the inland industrialisation, the return of collectivisation and all that went with this, were all methods of that genocidal period a decade earlier.
Maybe I throw around the term genocide too freely. It seems to me it’s not used enough. I think with Mao and his mob it rests on whether the deaths of tens of millions and the destruction of culture were intentional. Is ‘I don’t care how many die as long as I achieve my goals’ intentional, or merely indifference? What about engineering chaos for the same ends which as a side-effect result in what we currently call collateral damage? What about if you say, “It is better to let half of the people die so that the other half can eat their fill.” If that half die because you ‘let’ them, is that genocide, or something else? If we have to ascribe intentionality to genocide, then the most recognition of culpability we can expect from a perpetrator is “Oops, my bad.” Which is approximately as much as the current ruling party of China says — the same party of all these three books, ruling in unbroken succession. Or maybe, “30% my bad.” Because the final ruling by the party on itself for all these atrocities was “70% good, 30% bad.”
I would like to think that in the next decade or so Dikötter’s works become less remarkable as more historians write ever more fine and detailed works on 20th century China. I do think some of the criticisms of his work are valid, in particular that it’s “more like a catalogue of anecdotes about atrocities than a sustained analytic argument”. But against that is the fact there are sod all historians writing on 20th century China compared to say 20th century Germany or Russia. Guangdong history alone could and should occupy entire departments, yet here we are, still treating China as a monolith. Worth reading all three at once, not just for history, but as a lesson in how easily a dictatorship can grow and devour continents.
My combination book unpacking / book selling (fuck yes, I sell books sometimes too!) led to the discovery of a few books I’d never blogged – or for that matter finished reading. David Nicholas’ The Northern Lands: Germanic Europe, c.1270-c.1500 is one of those, unfinished because it’s kinda boring; rereading cos it’s informative and enlightening in a broad, generalist, undergrad way, heavy on the facts and light on poetry, a bit like reading contract law or health insurance.
Who is David Nicholas and why does start sentences with ‘but’ so much? Professor Emeritus at Clemson University until he retired a decade ago, and yes, if there’s a distinct style of, white, anglo-euro-american male academic writing (and have I read a trunkload of them), he’s it (reminds me of Central Asian scholar Christopher I. Beckwith, or Aloïs Riegl). Around once every sentence I notice I’ve vagued out into mediæval fantasy land (me in central role saviour-ing or slaughtering, either/or), before returning to one of his regular and unintentionally hilarious sentences or clauses. (Such as – paraphrasing here: “Austrians always regarded the Swabians as aliens.”)
Yes. I have been learning things. No. Not quite sure what. Ignoring entirely the awkward-ish ‘Germanic’ in the title, no, he’s not tromping down the well-worn racist path of pure German identity, in fact he makes it quite clear without making it the central thesis that whatever constitutes ‘Germanic’ was throughout the period he covers conditional and contextual, and often incomprehensible: Swabians, Slavs, Wends, Frisians, Flems, Danish, Scandinavians all at various times and places both were and were not Germanic, even moving back and forth depending on where they were, whom they were speaking to or who was speaking of them. It’s the -ic in Germanic that’s important, an attribute of language, thinking, culture that moved back and forth between lands and regions, rather than an identity or nation that existed as a fixed object. But it’s the German that’s at issue, and while Nicholas broadly divides regions into England, Flanders, Netherlands, Denmark and Scandinavia, and Germanic regions (contemporary Germany, Austria), along with forays into Poland, Czech and those parts of the Holy Roman Empire, he nonetheless prioritises ‘German’. Probably would have been better to leave the title at “The Northern Lands” and move his focus to the interactions between these regions. Professor Len Scales’ review is far more eloquent on this than I can be.
My criticism is predominately on the boringness of the writing (ok, and on the substantial absence of women, art, culture, Jewish communities …). Dry, dry, dry enumeration of facts and names, which I can stodge through if it weren’t for baffling jumps back and forth across hundreds of years, frequently in the same paragraph. I’m sure for Nicholas this makes sense, but fuck me sometimes I’m at a loss to understand his line of reasoning or his point. If I was twenty, considering a life in mediæval history and was assigned this for coursework, I’d probably go off and become a tradie, spending the rest of my life thinking it was because I was stupid, and not that for all its density of information this work fundamentally uninterested in communicating – and I’m saying this as someone who reads Caroline Walker Bynum for pleasure (repeatedly).
For a more realistic comparison, trundling through Wikipedia pages on the Hanseatic League, Magdeburg, Sachsenspiegel, (all of which he’s written about), and various other labyrinths of mediæval gloriousness (plus following links out into the wilds of the internet) is far more informative, rewarding, and enjoyable. Weirdly, I keep hoping the next page he’ll break from his interminable introduction style and get down to some substantial writing. Not bloody likely.
If you’re at university and being made to read this, go somewhere else. Mediæval northern european history is mad fun, alternate history levels of science-fiction strangeness, it’s addictive as all shit, and it’s a living thing you can walk into any old church and see, it has philosophical debates and ideas as wonderful as Deleuze or Serres or Butler, art that thrashes contemporary stuff for levels of intensity (imagine walking into church and it was 5 hours of Volksbühne: that’s mediæval art), in all seriousness whatever workable future Europe has – politically, socially, culturally – it’s going to find more possibilities 800 years ago than in the last couple of hundred years of contagious bollocks, and if you’re reading The Northern Lands you’re going to experience approximately none of this. Fuck’s sake, go and read Bynum.
Let’s get it over with right away: there’s gonna be no Fiction Book of the Year this year. Even Non-fiction is sketchy. Last year was a scorcher: Ann Leckie’s Ancillary Justice, Nicola Griffith’s Hild, Afsaneh Najmabadi’s Professing Selves: Transsexuality and Same-Sex Desire in Contemporary Iran, Caroline Walker Bynum’s Wonderful Blood: Theology and Practice in Late Medieval Northern Germany and Beyond, and H. Jay Melosh’ Planetary Surface Processes. Just typing those, far out last year blazed! What’s gone wrong Frances?
I think it’s mediæval art. Well, not the art itself, but the people writing on it. They are quite frankly a little … boring … need laxatives (less charitable Frances says: elitist wankers actively excluding anyone who doesn’t fit their clique-ish posing). I mean, come on, mediæval northern European history is mad crazy. I know this cos I’ve read heaps, and know most people think it’s all peasants pushing muddy sticks in muddy fields, falling over with the plague, waiting for the Renaissance to kick off—that’s the look people give me when I say “mediæval” I see it behind their glassy eyes, “…muddy sticks…” But it’s fucking not. It’s shitloads more progressive, analytic, philosophical, creative, than much of the following hundreds of years. Seriously, have you read Descartes? Set Europe back about 1500 years.
Also I did not read so much this year. A mere 36 books, of which 22 were fiction and 14 non-fiction. I blame my slightly out-of-control internet addiction (now under control courtesy System-level blocking of a chunk of the internet Sunday through Friday night), for the decrease, as well as not so much science-fiction being published that tripped me out—I do read a lot of fantasy, and some of it was pretty good, but honestly if there was say twenty writers of the Banks/Leckie/Miéville/Stross level splurting out skiffy, I’d either be hoovering a book a week of the stuff, or more likely dispensing with it altogether for the high fibre stuff. As for non-fiction, preceding paragraph.
I was going through supernaut a fortnight ago, finishing cleaning all the old images, which meant also looking at what I’d been reading, which in turn reminded me of being in China and the difficult relationship that place has to its history (mostly conversations like “…5000 years of history!”), which I then thought about specifically in Germany and its relationship to history (older history, let’s say pre- arbitrary mid-point of the reign of the Fredericks, like the Great, mid-1700s), and while everyone goes bonkers for Tang and Song Dynasties (618-907 and 960-1279 respectively) you’d be really hard-pushed to get an equivalent or comparable “Woo! Fukkin yeah!” reaction about Regnum Teutonicum, early Hanseatic League, Mechtild of Magdeburg, Hildegard of Bingen. I’m all enthusiastic about it, but the writing, so so many wrist-slitting pages of tedium.
There’s less resistance to change in Chinese studies, given that substantial archives are still being opened—and moreover simply it’s not Europe, so for Euro-Anglo-American-based scholarship, there isn’t that subjective rewriting of identity which I think is deeply tied into writing on European history. Just to witness the concerted and heavy resistance in both academia and broadly across culture to the presence of Islam and brown people (North African, Arabian, Persian, Central Asian) as part of northern European history demonstrates the inflexibility of European historical narrative. And on that, of course we’ve always been here: the trade routes along rivers, across the Baltic, Black, and Caspian seas make any other history patently false.
Yar, so. The books:
Fiction first. A couple of late arrivals—K T Davies’ Breed (haven’t written about yet) and Steph Swainston’s The Castle Omnibus (three books in one and pushing 900 pages)—saved the year from being a total washout. Breed was a sweary anti-hero loser sucker for punishment (Davies liked pushing him off a cliff every few pages for shits and giggles), who turned out to be Saviour of Everyone, who then tells everyone Thanks But No Thanks, Also Fuck Off because that’s what you do when people treat you like shit ’til you’ve got something they want. Mad Staunch is our Breed. It’s definitely in standard fantasy land, but the swearing and horribleness takes it almost into Oglaf.
The Castle Omnibus, on the other hand, is dead serious reading. There’s a scene in Charles Stross’ Merchant Princes series where they land on a parallel world full of things which eat anything living. The insects here, the Shift (both a place between worlds and the fabric in which all worlds are held), even the feudal mediæval island (let’s call it Great Britain) could easily be the Stross’ universe from a different perspective. It almost, almost convinced me to be Book of the Year, but … Look, I’m totally down with a first person narrative who’s a fiend for the needle and spends the first part of every book smug in a “kicked my habit for good this time” state and fifty pages later is blasting three times a day, and who has wings, and who’s punk/goth/streetkid/bitter/sexy/unreliable narrator, but a few of the important female characters were iffy, kinda “Wow, the guys are wankers, but the women … fukkin’ bitches.” That and the unsatisfactory post-climax resolutions which are a structural function of how Swainston tells a story. Probably will read subsequent Castle novels in the absence of skiffy.
Also three from Ayize Jama-Everett, his Liminal series (The Liminal People, The Liminal War, The Entropy of Bones). Best writer you’ve never heard of. A little too calculated and superficial—his ability to write is more impressive than the scenes and characters, which often shrink into the panoply of heterofanboy fantasy (like the tough martial arts chick of Entropy). But still I devoured all three, ’cos I’m desperate for good sci-fi/fantasy that isn’t white people. Best read smoking weed and listening to Asian Dub Foundation.
William Gibson made a fucking spectacular return to Neuromancer levels of Fuck Me This Is Good in The Peripheral, then blew it equally spectacularly with bullshit bandwagon du jour for sci-fi and fantasy writers who wanna be cool: trannys! Yes, Gibson has a tranny. So does Rachel Hartmann in Shadow Scale. A tranny is a particular stereotrope cisgender writers love. They’re defined by metonymy: big hands, secrets, crying, physical stature, striking appearance. They occur in two places throughout the story: once in the past in male form, again in the present as female, but we’re not told this person is one and the same except for via these metonymic ‘hints’. The reveal is a plot device which comes with all manner of ‘trapped in the wrong body’ exegesis, more tears, more big hands flapping, while fulfilling some surprise plot twist the author evidently felt only a chick with a dick could accomplish. Yeah, Gibson, Hartmann, Tricia Sullivan, I’m giving you the side-eye (and all you cis writers who suddenly have always been all about Teh Tranz). Please, just stop, you’re fucking embarrassing.
Ysabeau S. Wilce drip-fed me a tiny bit of joy from her Flora Segunda world in Prophecies, Libels & Dreams: Stories of Califa, as did China Miéville in his collection, Three Moments of an Explosion: Stories. Nicole Kornher-Stace’s Archivist Wasp was another rare gem, so much of a world barely explored, as with Alastair Reynolds’ Slow Bullets, which would be my Book of the Year if I was going to give it to any.
I noticed as I was writing this that I find it difficult to remember one fantasy work from another. It’s all the same, magic and dragons and shit, and curiously white-ish generic western European ‘mediæval’. Even Breed, The Castle Omnibus, Shadow Scale, Archivist Wasp rely heavily on this for some aspect of the world, and as much as they surmount this narrow world in other aspects, it’s tiresome. Being heavily critical here, I’m not sure many Euro-Anglo-American writers can write outside this. It’s not enough to shift the setting to Generic Africa or Generic Asia, or have characters who are otherwise indistinguishable from inner city heteroboys be muslim or have a checklist of exotic defining attributes. This is where I think authors like Saladin Ahmed and Ayize Jama-Everett get it right (and conversely G. Willow Wilson doesn’t). To be clear, it’s not about the ‘authenticity’ or not of the writer. I think it’s more of a question of misjudgement, that the author thinks it’s sufficient to attach a set of attributes to a character or location, and fails to realise that each attribute is an entire world. To be a muslim or a transsexual person (I’m currently using that latter word because trans, trans*, transgender are all seriously shitting me) is to experience the world in a fundamentally different way; for all the quantitative differences there might be, these do not in themselves add up to the qualitative difference I’m talking about.
Moving on, non-fiction:
I’m still on my Caroline Walker Bynum bender, though close to finishing her œvre. I threw Jesus as Mother: Studies in the Spirituality of the High Middle Ages across the room once. I forget why. It’s not often that happens, and I’m pretty sure it wasn’t something she said, but a quote which made me want to burn a thousand years of Europe to ashes and salt the ruins. Holy Feast and Holy Fast: The Religious Significance of Food to Medieval Women escaped damage, as did Mechthild Of Magdeburg’s The Flowing Light of the Godhead. Mischa Honeck, Martin Klimke, and Anna Kuhlmann’s (eds.) Germany and the Black Diaspora: Points of Contact, 1250-1914 deserved such a beating, but at 60€ I couldn’t bring myself to do it. There’s definitely an inverse ration between scholarship and price in academic publishing, and sure, there were a few bits and pieces I’m glad I read, but nothing was substantially above the extended inquiry into the subject I’ve read around the internet, and quite a bit I would fail if I was marking undergraduate-level essays. The other stuff though, I think part of the difficulty in reading is extricating the valid ideas from the misogynistic, religious, social structures and limitations of the time. It’s not always pleasant work. Conversely, persuading contemporaries of its value butts up against equally frustrating limitations. It’s safe to say that the Renaissance, Reformation, Enlightenment ages all did a hatchet job on the mediæval era which remains to this day.
Aloïs Riegl’s Historical Grammar of the Visual Arts is useful in exhuming this, coming as it does from the peak of continental superiority (geographic and temporal), and I am enjoying it, paragraphical asides on Dürer and the Reformation lead to hours following the migration of ideas across Europe, getting lost in the Beeldenstorm iconoclasm, following the Hanseatic League (again). I wonder to myself, for what? At times I feel on the edge of understanding—broadly, generally, continent- and era-sized brush stroke kinds of understanding—What Happened and What It Means, and then … nope, gone.
And on that, non-fiction book of the year does exist: David Bindman, Henry Louis Gates, and Karen C. C. Dalton’s massive and glorious Image of the Black in Western Art, Volume II: From the Early Christian Era to the “Age of Discovery”, Part 1: From the Demonic Threat to the Incarnation of Sainthood. It’s an odd choice for me, being in the coffee-table realm of printed matter, but the essays are significant and valuable; as is the project in itself, beginning in the ’70s, to document the history of people of colour in European art. Look, you can gawk at art from the past millennia in these ten volumes and see not only changing attitudes to people outside and on the margins of Europe—and those people within the many Europes that we somehow continue to convince ourselves is and has always been homogeneous—changing ideas of representation, for religion, for gender, for social status, for ethnicity; you can also see the change in what constitutes European self or subjecthood, and following from that what is Other. The history of European art documents extraordinarily clearly over hundreds of years the emergence and ascendency of colonialism, racism, ideas of superiority—of ethnicity, gender, class—as well as resistance to this, all inextricably interwoven with religion. And for all our pretence that things are different now, what’s remarkable is how familiar a thousand years ago is.
Ok, there’s a few fiction and non-fiction I have to mention: Michael Dante DiMartino, Bryan Konietzko, Joaquim Dos Santos’ The Legend of Korra: The Art of the Animated Series, Book 1: Air because fukkin’ #korrasami and being one of the best series animated or otherwise this millennia. Howard W. French’s China’s Second Continent: How a Million Migrants Are Building a New Empire in Africa, which really deserved better paper stock, and despite its shortcomings is one of the current required texts on the very-much hot subject. Udo Kittelmann and Britta Schmitz’s (eds.) Gottfried Lindauer: Die Māori-Portraits, from the exhibition at the Alte-Nationalgalerie, made me miss Aotearoa something fierce. Ann Leckie’s Ancillary Sword, not as good as the first one, but having just finished the third, and planning a binge of the trilogy, can say it’s crucial reading. Hannu Rajaniemi’s Collected Fiction, who occasionally shows the brilliance of his first novel, and worth it just for that. Charles Stross’ The Annihilation Score, a dependable early-summer arrival, didn’t enjoy it nearly as much as some of his other stuff though. Jo Walton’s The Just City, the first of a trilogy, I think. Not sure if it’s excellent (compared to say, her Among Others), but enjoyed very much. And I cannot not mention Iain Banks and Ken MacLeod Poems, as it’s the last thing Banks will publish and that guts me beyond words.
Maybe I’m just a grumpy, entitled cunt, cos from right here that looks like a pretty fucking sweet year of reading.
Books! Just like vinyl, they’ll never die. I unashamedly love books and reading. I love the weight of them, the resistance in their spines, the smell and feel of the paper and ink. I adore when the typeface and setting has been done with love, and adore also the works of art that are the covers. I love seeing a pile or stack or shelf of read books (as much as I cringe with embarrassment at the spilt and splashed food, drink, dirty fingers, smudges, I inflict—seem to have retired from marking pages by folding the corner though, so some progress made). A book is as much a work of art for how it is made as for what it contains; and for what it signifies and stands for, fiction or non-fiction: literacy, ideas, the love of knowledge, philosophy, these things that cannot be reduced to an economic sum. To read—to be able to read—is one of the greatest luxuries and privileges.
And that necessitates obligation. Reading in itself is not a human right. Buy books! Buy books for your friends! Encourage people to read. If you know someone who Can’t Read Good (And Wanna Learn To Do Other Stuff Good Too), help them, reading is only difficult if you’ve been told it is. Support your local libraries!