Happy New Year to everyone using the Gregorian calendar! 2020 was a weird year: I read loads, much more than I have in any year since I started recording my reading in 2014, thanks to a lack of commute and social obligations; and although I read lots of thought-provoking, ambitious books, I’m not sure any of them were truly standout. Here’s my top ten from 2020 (read, not necessarily published, last year); and, afterwards, some stats from my spreadsheet.
Top Ten Books of 2020
- This Is How You Lose the Time War – Amal El-Mohtar and Max Gladstone (2019). OK, when I said there were no standout books this year, that was a lie. This Is How You Lose the Time War is intricate, queer and devastatingly triumphant; its tale of mortal enemies attempting to build a space in which they can be together is both timely and timeless. I read it twice – once for pleasure, once for review – and cried both times.
- Speak Easy – Catherynne M. Valente (2015). A Prohibition-inspired retelling of “The Twelve Dancing Princesses”, Speak Easy is everything I hoped it would be: a gem of a book full to bursting of Valente’s baroque, euphonious prose, a whole glittering, glamorous world conjured in its 142 pages.
- Aurora – Kim Stanley Robinson (2015). What surprised me most about Robinson’s take on the generation ship story was how this very science-focused novel gave me a new perspective on my own flavour of neopaganism: it’s all about the complexity of the feedback systems that keep us alive on this rock spinning through space, and the idea that everything affects everything else is a core neopagan tenet. It helped me reframe how science intersects with my own religion; in other words, how I understand the world at a fundamental level. And what more can we ask of our reading than that?
- Gideon the Ninth – Tamsyn Muir (2019). This is here because it was so damn fun to read, its Gothic Gormenghast-esque space setting punctured by Gideon’s sarcastic, memeified voice: it’s a very now read, a novel aimed at a very specific subset of SFF-loving internet denizens. Plus: space lesbians!
- The Curse of Chalion – Lois McMaster Bujold (2001). I was quite dismissive of The Curse of Chalion while I was reading it, focusing more on the resistance I tend to experience when reading fantasy novels than its formal qualities. I think that’s because it’s best looked at as a whole, when its cathartic structure becomes visible and thus Bujold’s thesis on the intersection of free will and faith emerges fully. It’s a brilliant work of fantastic theology, and it manages to depict the mysteries of faith in a way that very few contemporary novels do.
- The People in the Trees – Hanya Yanigahara (2013). This is at times an extremely uncomfortable read: content warnings apply for child sexual abuse and quite graphic scenes of animal experimentation. It’s here for its combination of a Nabokovian unreliable narrator with themes of Western entitlement, colonialism and habitat destruction. Above all, it’s an extremely powerful portrait of a white man who believes himself superior to everyone else and thus beyond reproach, leaving him completely blind to his own selfishness and monstrosity.
- Lent – Jo Walton (2019). Another religiously-focused work, Lent is a cleverly structured meditation on sin and redemption. Because it’s so immersed in its 15th century Italian setting, it gave me a lot to think about with regards to medieval Christianity and how it was practiced, and thus some ideas for my own religious practice too.
- The Lions of Al-Rassan – Guy Gavriel Kay (1995). I read a bunch of Kay’s work in 2020, mainly because that was what we had in the house, so The Lions of Al-Rassan stands here for a few of his novels. I like this one in particular for the clarity with which his three protagonists stand for three of the main political forces in his fictionalised Europe, making their friendship always already tenuous, verging on the impossible.
- Circe – Madeleine Miller (2018). Feminist rereadings of Greek myth and witchcraft are not new at this point, and so the trajectory that Circe’s story takes is perhaps not surprising; but I still enjoyed Miller’s complication of her portrayal as a tempting and dangerous seductress. The novel is both true to the original myths (albeit following one of the less familiar plotlines) and surprisingly satisfying in the end, as Circe manages to find some measure of peace and freedom.
- Piranesi – Susanna Clarke (2020). Piranesi‘s slow reveal of the truth about the strange world it’s set in gives it a sick kind of propulsiveness, as we come to realise that its generous-minded protagonist is being manipulated by people who believe themselves above reproach; in that sense it has some striking similarities with The People in the Trees. It’s also very gentle to those who its villains have harmed, rejecting narrative satisfaction to some degree in favour of recognising that such damage cannot necessarily be entirely undone.
Stats from my reading spreadsheet!
- I read a huge 121 books in 2020; that’s 22 more than in 2019.
- The longest book I read was Patrick Rothfuss’ The Name of the Wind at a bloated 662 pages; Ian McEwan’s The Cockroach and Shaenon K. Garrity’s The Astonishing Excursions of Helen Narbon & Co., neither of them very compelling, are tied for shortest at 100 pages each. Overall, I read 41,837 pages in 2020, unsurprisingly considerably up from 2019’s 35,803.
- The oldest book I read was E.T.A. Hoffman’s The Life and Opinions of the Tomcat Murr, which was first published in 1820. The average age of the books I read in 2020 was just 12, down again from 14 in 2019.
- Genre: 45% of the books I read in 2020 were fantasy, up from 31% in 2019; 26% were SF, unchanged from 2019. 12% were non-fiction, down from 2019’s 19%; just 8% were litfic, down from 15% in 2019 (although my personal definition of “litfic” changes from year to year so this figure is a bit finger-in-the-air). The other 9% consists of two comedy novels, two crime, three historical and two horror.
- Surprisingly, just 9% of the books I read in 2020 were re-reads, down from 2019’s 11%. I would have thought this figure would be higher, given my lack of access to the library and other sources of new books during the pandemic.
- 60% of the books I read in 2020 were by women and non-binary people, quite a lot up from 48% in 2019 (note: I read no non-binary authors in 2019, as far as I’m aware); I’m happy about this and also surprised – I expected my lack of library access to make my reading less diverse, not more.
- On the other hand, I shouldn’t congratulate myself too soon: just 18% of the books I read in 2020 were by people of colour, down from 24% last year. I did expect this: I’m careful when borrowing books from the library to choose works by people of colour, but long periods of being forced to choose from the books I actually have on my bookshelves have revealed that those books are still very white. Going forward I’m committing to making sure that I’m buying books by people of colour in the same proportion as borrowing them from the library.
- 15% of the books I read in 2020 were by queer authors, up from 5% in 2019. This is pretty good too, I think.
Behold, from deep in the Valley of the Christmas Holidays, a roundup post…
I’m going to try and post a bit more regularly in 2019. Starting next week, that is.
My Favourite Things of 2018
Book: The Stone Sky – N.K. Jemisin. The Stone Sky made me cry in Stansted Airport. The last book in Jemisin’s Broken Earth trilogy, it is not a happy book. It is not one I’ll return to for comfort or reassurance. It is just stunningly good.
TV: Doctor Who: The Tsuranga Conundrum. I’ve been really terrible at reviewing TV on the blog this year: it’s basically just been Doctor Who. But what a series of Doctor Who! Tsuranga encapsulates everything I love about it. It is hopeful, inclusive and searching, a story that asks us to reimagine what Doctor Who is and what it’s for.
Film: Jupiter Ascending. Yeah, the film reviewing has fallen a bit by the wayside this year, too. And I’m pretty bad at seeing films, anyway. So let’s go with Jupiter Ascending, a film from the Wachowski sisters that is absolutely bizarre, utterly gorgeous to look at and contains Eddie Redmayne.
- I read 76 books in 2018 – ten short of my total of 86, dammit.
- The longest book I read was Kim Stanley Robinson’s Green Earth, which at 1069 pages is technically three novels in one, and probably one of my favourite books of 2018. Meanwhile, the shortest was Jorge Luis Borges’ A Universal History of Iniquity, at a slim and forgettable 105 pages. Overall, I read 30,048 pages – unsurprisingly not quite as good as last year’s 30,893 (although, not that far off…)
- The oldest book I read in 2018 was Charles Dickens’ Barnaby Rudge, published in 1841. The average age of the books I read in 2018 was 42, down from last year’s 44. (I’m pretty sure this average is dragged down quite a lot by my annual Tolkien reread.)
- Genre: The genre split of my reading has shifted quite a lot this year – I relied much more on the local library than I have in previous years, and the SFF section only goes so far. So: 36% of my reading was fantasy, down from 45% last year; 21% was science fiction, the same as last year. 17% was lit fic, significantly up from 9% last year, and 12% was non-fiction, again significantly up from last year’s 6%. The rest was split between historical, contemporary, crime and humour (all the annoying interchangeable categories, in other words).
- 9% of the books I read in 2018 were re-reads – down from last year’s 11%, which is great.
- 53% of the books I read in 2018 were by women – up from last year’s disappointing 46%.
- And 24% of the books I read in 2018 were by authors of colour, another increase on last year’s 18%.
- Six-Gun Snow White – Catherynne M. Valente. Of course a Valente novel would have to be top of this list. Her Wild West retelling of Snow White is dark and hard as the Grimm original, but sparser, unrelieved by fairytale’s usual descriptive excesses; it’s a story about how trauma perpetuates itself in systems of oppression. (It’s less dour than that makes it sound.)
- Boy, Snow, Bird – Helen Oyeyemi. I really like the lyrical magical realism of Oyeyemi’s Snow White retelling, a subtle, nuanced look at race and gender and how the kyriarchy twists all our relationships with each other. It’s lovely work; unfortunately, it’s tainted by a transphobic ending that comes virtually out of nowhere.
- Spinning Silver – Naomi Novik. Novik pulls off the tricky feat of expanding and enriching her source material (Rumpelstiltskin) to speak about female agency while retaining its essential fairytale quality – its emphasis on words and promises and names and deep elemental magic.
- The Amazing Maurice and his Educated Rodents – Terry Pratchett. This is actually a very dark novel considering it’s one of Pratchett’s ventures into YA; it channels the Germanic Gothickry of the Grimm fairy tale it’s based on (The Pied Piper of Hamelin). It’s also a lot of fun, though, the horror carried along by Pratchett’s wit and humanity.
- Witches Abroad – Terry Pratchett. Terry Pratchett’s witches are always great fun, and their practicality makes for a funny, incisive critique of the unrealistic perfection of fairy tales and the danger of making simple stories out of messy lives.
- Mr Fox – Helen Oyeyemi. This is an interesting book, a novel in short stories about a writer whose character comes to life. It’s a take on the Bluebeard myth, that favourite of feminist writers everywhere; expect stories that are fierce and witty and uncompromising.
- The Sandman – Neil Gaiman. Gaiman’s graphic novel series is really based on a jumble of sources that owes only a little to the original stories of the Sandman. But it is interested in traditional fairy tale structures, and it has the darkness of fairy tale, and I like it so I’m counting it.
- The New Moon’s Arms – Nalo Hopkinson. This is another recent read, and it’s here because I read it as a selkie story; it’s open-ended enough that there are other possible readings. I enjoyed it mainly because of the way its fantastic elements are allowed to coexist with complex characterisation – our heroine is unlikable in many ways (including her rooted homophobia and biphobia, which the narrative is careful to condemn) without being irredeemable.
- Deathless – Catherynne M. Valente. Deathless isn’t my favourite of Valente’s novels: her retelling of the Russian fairy tale Koschei the Deathless is too loose and unfocused, even slightly affectless, for me. Still, it’s Valente, which makes it worth one read at least.
- Cinder – Marissa Meyer. I found this cyberpunk YA retelling of Cinderella really fascinating when I read it a few years ago: its futuristic New Beijing setting felt lived-in, convincing, busy with all the messinesses of ordinary life under capitalism (although I have no idea how superficial or not its Asian elements are). As an update of Cinderella, it’s also smart and feminist – or, at least, that was the impression I got four years ago.
(The prompt for this post came from the weekly meme Top Ten Tuesday.)
- Blue van Meer – Special Topics in Calamity Physics, Marisha Pessl. I love that Blue sees the world filtered through the dubious gauze of academia and literary thought and scientific theory, and that this isn’t necessarily a good thing. I can relate: it’s always tempting to overlay mundanity with deeper meaning.
- Catherine Morland – Northanger Abbey, Jane Austen. Catherine’s much like Blue: she sees everything in terms of her beloved Gothic novels, when there’s usually something less melodramatic but more insidiously serious going on.
- Lirael – Lirael, Garth Nix. Lirael’s bookishness is more a matter of convenience than a choice, I guess: she works in the fabulous Library of the Clayr because it’s quiet and she can avoid her endless cousins, rather than because she particularly likes books. But her librarian background stays with her through all her adventures, and it really is an awesome library, so I’m counting it.
- Alana – Saga, Brian K. Vaughn and Fiona Staples. Alana believes, right down in the core of her being, that a book can change the world. What bookworm doesn’t relate to that fervour? And, who knows, she might be right.
- Ariel Manto – The End of Mr Y, Scarlett Thomas. Ariel spends her last £50 on a rare book. She’s one of us, all right.
- Meggie Folchart – Inkheart, Cornelia Funke. Meggie sleeps with a book under a pillow at night! When she goes on adventures she takes the books that will give her courage! Lots of my reading habits are modelled on hers – I read this when I was like eight, and it’s stayed with me ever since.
- Hermione Granger – the Harry Potter series, J.K. Rowling. I mean. I basically have to include Hermione, who is obviously the best of the three Harry Potter kids. (Much more interesting than Harry.)
- Francesca – A Novel Bookstore, Laurence Cosse. If only because her dream of opening the perfect bookshop, a bookshop that sells only the best literature, is so perfect, and a thing I want to see so much. “We want books that leave nothing out: neither human tragedy nor everyday wonders, books that bring fresh air to our lungs.”
- Katin Crawford – Nova, Samuel Delany. Katin’s…a little out of touch with the world, to put it mildly. In the far-future world of Nova, the novel as an art form is thousands of years obsolete. But Katin still wants to write one, to draw together all the strands of the historical moment he inhabits. He’s fascinated by them. He’s like all of us: a thinker, a dreamer, a person who knows there are other worlds than these.
- The creature – Frankenstein, Mary Shelley. The creature gets his entire education from Paradise Lost, basically. Which, in all honesty, is probably precisely as healthy as basing your childhood morality on The Lord of the Rings. Which I definitely did not do. Ever. *coughs*
(The prompt for this post comes from the weekly meme Top Ten Tuesday.)
- The Fifth Season – N.K. Jemisin. What I love about The Fifth Season, and the other novels in the Broken Earth trilogy, is the way it decouples minority representation from its discussion of how institutional discrimination traumatises its victims. In its world, queerness of all kinds is unremarkable, women occupy leadership roles unquestioned, and dark skin is the norm. Which means that its queer and female characters and its characters of colour are not defined by those things as they so often are in popular culture. And yet its society is also, like ours, fundamentally shaped by structures intentionally designed to exclude and oppress and discriminate. I don’t think I’ve read another novel that does this work (Kameron Hurley’s The Mirror Empire comes close, I think, but not as elegantly): it embraces the complexity of our world and the people in it in a way that’s equal parts horrifying and gratifying.
- Palimpsest – Catherynne M. Valente. Palimpsest doesn’t touch directly on issues of oppression and discrimination as Jemisin’s work does, but it’s undoubtedly a very queer novel. Palimpsest is a queer city, and it queers the people who come to it.
- Perdido Street Station – China Mieville. This sprawling city fantasy is in part a novel about multiculturalism and integration, and Mieville looks at it from a number of different angles. There’s the experience of Yagharek as he enters polluted New Crobuzon for the first time, and, later on, Isaac’s profound misunderstanding of what his crime means culturally; Lin’s simultaneous discomfort in, and nostalgia for, the khepri ghetto; and the vodyanoi dock workers’ strikes which form a constant background to the novel. Then there are all the entities who are so alien we really can’t comprehend them: the Weavers, with their inscrutable aesthetic sense; the artificial intelligence that is the Construct Council; even Hell’s envoy. It’s a kind of tapestry of ways of seeing the world; again, it’s a novel that embraces complexity.
- The Long Way to a Small Angry Planet – Becky Chambers. This is just – lovely. It constructs a world founded on the principles of tolerance. There are blind spots, of course: AI rights, some interspecies relationships. There are individual bigots. And there are arguments. But generally it’s a novel full of characters working to understand each other and make space for each other. And I think we also get the sense that the authorities are working to do the same thing, even if it’s a long and difficult process.
- Tipping the Velvet – Sarah Waters. I think this is 2018’s Our Tragic Universe for me; I think it’s going to appear on a lot of lists for the foreseeable future. I just, I love its project of queering Victorian history, digging up a past that’s been largely erased by popular culture and popular memory. I love that it takes its lesbian heroine through heartbreak and isolation but knows better than to leave her there. I love that it (re)constructs this whole disruptive queer community in a society we like to think of as straight-laced and prudish.
- God’s War – Kameron Hurley. God’s War has its own problems, not the least of which is that it’s set in an Islamic culture in the throes of a destructive, age-old holy war. Like. I see where Hurley was going with that – it’s important to have SFF that isn’t based on Judaeo-Christian cultures. But it seems like too easy a stereotype. What the novel does have is a whole load of badass women who are unapologetically feminine (even if they’re also ruthless killers) and queer, actual explicit bi representation, and a deeply-rooted portrayal of interracial and international tension.
- Everfair – Nisi Shawl. Everfair was really not my favourite novel: I found it a bit of a slog, and I didn’t get on well with the huge cast of characters and the big chronological gaps in each of their stories. But I also think those things are key to its project, which is an important one. Like Tipping the Velvet, it’s a reclamation of history; it revisits and reworks the colonial underpinnings of steampunk, to create a space for those who lose out from them – people of colour, non-Christians, women and queer people, mainly. And it’s also about how oppression is intersectional, and the relative layers of privilege everyone has, and how those privileges conflict.
- Ninefox Gambit – Yoon Ha Lee. This is hard SF set in a heavily Asian-inflected society. As in The Fifth Season, the world of the novel is both structurally oppressive and queer-friendly, and there are all kinds of complexities around class. It’s also a novel that revolves around fundamental differences in the way people think about the world, right down to the conceptual level: its dystopian government’s exotic weapons are powered by consensus reality, so to take a different view of the world is to commit heresy.
- The Clockwork Rocket – Greg Egan. I have a feeling that if I read this again I might be dreadfully disappointed, but I remember it as a really interesting take on reproductive rights and feminism in a species for whom giving birth is literally and invariably fatal. (There was also lots of physics. With graphs. I ignored it.)
- Ancillary Justice – Ann Leckie. You’ll have heard that Ancillary Justice‘s big gimmick is using the pronoun “she” for every character. Which is true, and quite interesting as a device; there are some persuasive trans readings of the novel. But…it’s not really a novel about gender; it’s much more interested in imperialism and how it co-opts the identities of its subjects.
(The prompt for this post was suggested by the weekly meme Top Ten Tuesday.)
Not counting library books or books lent to me.
- The War Poets: an anthology. You know how grandmothers always try and give you random crap when you go visit them? That’s where I got this, a couple of weekends ago. Because poetry. (Actually Wilfred Owen’s “Dulce et decorum est” has been one of my favourite poems since I read it out in assembly at school. Like all the best poetry, it dictates how you read it aloud; it makes you dramatise its fury through how you sound it out.)
- Sisyphean – Dempow Torishima. So apparently the last time I bought something in a bookshop was in April? In New York? Which seems unlikely, but I can’t think of anything I’ve actually bought since then. Sisyphean was okay, a bit organic for my taste.
- Space Opera – Catherynne Valente. This was part of my New York haul. I was ridiculously excited about this, as I bought it around the time Amazon sold out and the only copies left were scattered around various Barnes and Nobles and I GOT ONE and it’s lovely.
- The Refrigerator Monologues – Catherynne Valente. Yeah, I basically treated America as a chance to buy all the books that are fiendishly difficult to find over here. This included ALL THE VALENTE.
- Saga Volume 1 – Brian K. Vaughan and Fiona Staples. I read this a couple of years ago, but I’ve been wanting to own it for a while – the art is so lovely and MY HEART ALANA’S FACIAL EXPRESSIONS. Plus, it actually seemed to be cheaper in New York than over here.
- S. – J.J. Abrams and Doug Dorst. I actually cannot remember exactly when I bought this, except I know it was definitely in the Oxford Blackwell’s shop. I haven’t read it yet, because of the vagaries of my TBR pile, but I can’t wait.
- What Are We Doing Here? – Marilynne Robinson. This was an emergency buy when I was stuck in Bologna without anything to read, and it was a great choice if I do say so myself: engaging, thought-provoking and empathetic.
- Imaginary Cities – Darran Anderson. I bought this in Oxford in January. It was rainy and cold and we were looking for somewhere to hide for an hour before dinner, and Blackwell’s rode to the rescue (not literally, although that would be impressive). I read the first couple of chapters of this fascinating book curled up in one of their armchairs.
- The Compleat Discworld Atlas – Terry Pratchett and the Discworld Emporium. This was a Christmas present from my sister! It is, physically, a lovely book. It is very geeky. It is also…a bit problematic, and nowhere near as fun as the actual Discworld novels, or even some of the older companion books.
- The Book of Dust – Philip Pullman. Also a Christmas present, also from my sister, more interesting than the Discworld Atlas even if it’s not quite what I wanted from a His Dark Materials prequel.
(The prompt for this post comes from the weekly meme Top Ten Tuesday.)
- The Stone Sky – N.K. Jemisin. The conclusion to the Broken Earth trilogy, and I think the only book that’s made me cry so far this year. In an airport. It is devastating and hopeful, bleak and beautiful all at once. It’s a book about climate change and motherhood and the trauma that systematic oppression inflicts on its victims and its perpetrators alike. It’s extremely unusual, to say the least, to find a fantasy novel that’s even half as ambitious and important.
- Tipping the Velvet – Sarah Waters. I finished this just today, in fact, and it came pretty close to being the second book to make me cry this year. It’s a novel about a Victorian oyster-girl who falls in love with a male impersonator at the theatre, and follows her to London. Waters is amazing at romantic suspense, at writing the sweet painful bliss of seduction, and I spent the four days it took me to read Tipping the Velvet utterly under its spell.
- Rosemary and Rue – Seanan McGuire. The first novel in McGuire’s Toby Daye series was exactly what I hoped it would be: smart and fun and not afraid of dealing with darkness, and set in a version of Faerie that’s magical without being twee.
- What Are We Doing Here? – Marilynne Robinson. This is a dense book, a collection of essays delving into the depths of philosophy, theology, history and aesthetics. But it’s worth taking the time and the care to engage with it: it’s a book that advocates empathy, and thorough engagement with the world, and the importance of the humanities in this career-obsessed society.
- Green Earth – Kim Stanley Robinson. 2018 for me has so far been marked by a growing awareness, and a concomitant grief, of just what a parlous state we’ve brought our planet to. Green Earth contributed to that awareness, but it also gave me some hope: hope that maybe we can fix our broken social system and find the political and social will to do something about rampant climate change before it’s too late.
- Space Opera – Catherynne M. Valente. Space Opera’s rather grown on me since I finished it and found it a little insubstantial. Sure, it’s a story about Eurovision in space. Sure, its ending is schmaltzy as all get-out. But it’s hard to resist its glitter and its goodwill and its generous, inclusive approach to the aliens who inhabit the galaxy – as well as the humans fighting for Earth’s survival.
- The Refrigerator Monologues – Catherynne M. Valente. While I was reading it, I enjoyed The Refrigerator Monologues a lot more than Space Opera. But…it’s faded a little in my memory by comparison. Partly I think that’s because it’s a collection of short stories about superheroes, or, rather, the girlfriends of superheroes, women who are “fridged” to advance the stories of men. I see Valente’s point, and it’s well and beautifully made, but I just don’t find superheroes that interesting. And the collection as a whole is a little one-note.
- Imaginary Cities – Darran Anderson. This is just a fascinating look at how cities have been portrayed and conceived of throughout human history, romping through sources as diverse as Thomas More’s Utopia and Terry Pratchett’s Discworld novels, looping round and round its points in a kind of collage without ever quite saying what it means. I’m fascinated by the connections between architecture and literature, so this was absolutely perfect for me.
- The Real-Town Murders – Adam Roberts. This is a novel I admired more than liked. I mean, I enjoyed reading it; but not as much as I enjoyed nearly everything else on this list. But, like all of Roberts’ writing, it is doing complex, interesting work with genre, and genre expectations, and the headlong splintering of our shared culture.
- Provenance – Ann Leckie. Provenance has this fascinating double structure – just when you think you’ve got to the bottom of things you find a whole nother world behind them. Like Leckie’s Ancillary series, it places a lot of emphasis on identity politics and cultural norms and etiquette. And it does some very heavy lifting in imagining a culture that’s genuinely different from our own Western one, especially when it comes to gender norms and family structures.
(The prompt for this post came from the weekly meme Top Ten Tuesday.)
- Top Ten Characters Who Struggle. This was a great opportunity for me to write about a whole bunch of characters who have emotional or mental struggles that don’t (necessarily) end when the book does. For whom worry and trauma and stress and depression are ways of being, not monsters that can be magically overcome. And they still get to be heroes. They’re still worthy. They’re still awesome. It would be great to see more characters like these ones.
- Top Ten Books for Steampunks. Steampunk is one of my current fascinations. Mostly because I find long swooshy skirts and waistcoats and pocket-watches and dirigibles and the whole aesthetic of Victoriana really cool. And yes! I know steampunk is culturally reactionary and a little bit late capitalist and quite colonialist! I can’t help it. But it does also seem to me that there’s a rebellious undertone to steampunk, that it’s in some way pushing at our notions of Victorian England. And that’s the tension that draws my overthinking overanalysing brain right in.
- Top Ten Queer Characters. It was pretty surprising how hard this list was to write: I feel I’ve read a lot of books with a queer sensibility, if that means anything, but I couldn’t think of that many queer characters. And I kept coming up with characters I’d read as queer who maybe canonically weren’t (Frodo and Sam, Sidra in A Closed and Common Orbit, Stanley’s daughter in Told by an Idiot). I’m pretty happy with the final result, though.
- Top Ten Bookish Things I’d Like to Own. I feature this one not so much because of the quality of the finished post, but because of how much fun I had writing it and doing the equivalent of window shopping on the Internet. (I never did buy that Gormenghast print.) Plus, Jay Johnstone.
- Top Ten Bookish Characters I’d Like to Cosplay. Googling cosplay pictures is never a bad thing. Also, ooh, I’m now re-considering Steerpike for Nine Worlds (and not only because I could potentially reuse bits of last year’s cosplay…)
- Top Ten Favourite Book Quotes. I wrote this, dear gods, four years ago, so I’m not particularly proud of my flippant style, but as for the quotes themselves? Good choices, 19-year-old me.
- Top Ten Dystopias; Or, True and Accurate Representations of Post-Trump America. Oh, I remember how angry and depressed I was when I wrote this just after the American elections. FUCKING TRUMP.
- Top Ten Bookish Emotional Moments, or, All the Feels. My list would maybe look a little different now, but I do still love all these passages. (Well. Perhaps not the Thomas Covenant one, which strikes me now as a bit, uh, overwritten. And not in a good way.) And these are the moments I read for, after all: moments of visceral, terrible-wonderful empathy.
- Top Ten Books for Halloween. I just…like all the books on this list? And I think it’s one of my more successful theme posts, partly because almost nothing on here is straight-up horror (I don’t have the stomach for that shit, thanks very much).
- Top Ten Reasons I Love Blogging. Because these are all still true. (Especially the explodey bit. I have however somehow managed to find some more people IRL who will listen politely to my rants though. And really what more could you ask for.)
(The prompt for this post comes from the weekly meme Top Ten Tuesday.)
- The Dark Tower series – Stephen King. A Dark Tower TV series is already in the works, but given it’s associated with the decidedly lacklustre film I have basically no confidence it will be any good. The whole series is crying out to be televised, with a prestige TV budget: the battle of Jericho! Blaine the Mono and the waste lands! The desert, and the man in black. Roland of Gilead weeping. It would be fucking fantastic. Someone get it done, please. (I can’t believe there wouldn’t be an audience for it, given King’s readership.)
- The Silmarillion – J.R.R. Tolkien. Does Peter Jackson do television? Yes, I know he made an unholy mess of The Hobbit (STILL NOT OVER IT), but The Silmarillion is another kind of beast altogether: properly epic and wonderful in the way the Lord of the Rings films are. It wouldn’t work as a film (please don’t do this, anyone, or I will cry) because there’s like a million characters and no overarching plot except for “everyone dies and everything is shit”, but it could make for beautiful TV.
- Lirael – Garth Nix. Only, I’m imagining like a version where Lirael stays in the Library and has magical monster-of-the-week adventures with the Disreputable Dog and gradually learns to make friends and accept herself and it would be wholesome and wonderful and full of books.
- Perdido Street Station – China Mieville. I know, I know, I wrote a whole post a couple of weeks ago about how Mieville doesn’t work on TV and it should never happen again, but on a purely superficial level I think New Crobuzon would be amazing on screen, if it was done properly. Plus, the novel has that sprawling Dickensian quality that would give a TV series time to explore the world properly while, y’know, having a plot.
- The Discworld series – Terry Pratchett. There was a series called The Watch that was happening a while ago. Wikipedia the Fount of All Knowledge claims it is still happening. I’m hoping a) that it does happen and b) that it is not shit. (The films are fairly shit, but it is pretty fun seeing Discworld come to life, however underfunded it is.)
- A Madness of Angels – Kate Griffin. This is another one that would work really well as a monster-of-the-week show, carried by its wise-cracking protagonist and BBC special effects that are dodgy enough to look a little bit real. (See also Doctor Who.)
- Soulless – Gail Carriger. Steampunk and vampires and werewolves, oh my! (Seriously, this book is obsessed by scenery. If anything was written for TV it’s this.)
- The Temeraire series – Naomi Novik. Temeraire is adorable, and the books are really fascinated by relationships in a way that I think would work well on TV. You could flesh out the arcs of some of the supporting characters, and it would be like Downton Abbey but with dragons. And naval battles.
- Night Film – Marisha Pessl. For obvious reasons, this would work well on screen: I mean, it’s literally about film. And you could translate some of the novel’s narrative tricks pretty well into TV. I can also see how a TV adaptation could be disastrous, though.
- Green Earth – Kim Stanley Robinson. It would be like The West Wing, except with climate change! And lord knows climate change could do with raising its profile.
(The prompt for this post was suggested by the weekly meme Top Ten Tuesday.)
- Innon – The Fifth Season, N.K. Jemisin. A bi, poly pirate who’s also really hot. *mic drop*
- Sissix – The Long Way to a Small Angry Planet, Becky Chambers. Sissix and Rosemary’s relationship is one of my favourite things about this book. They actually TALK about things instead of trying to guess at what the other person’s feeling. And visibly support each other. Also! I think this was the first queer SF book I read, and I read it when I was just starting to come out (to myself as much as anyone), and I was so grateful that Sissix/Rosemary could exist.
- Nyx – God’s War, Kameron Hurley. “Nyx sold her womb somewhere between Punjai and Faleen, on the edge of the desert.” Boom! Nyx is bi – as are most of the characters in the novel, actually – and defiantly, violently female, and lord knows she’d be a terrible person to have dinner with but she’s a great character to read about.
- Lila – A Darker Shade of Magic, V.E. Schwab. Lila is a cross-dressing, genderfluid steampunk pirate who (at least in the first book) shows no interest in romance, and it’s great.
- November – Palimpsest, Catherynne M. Valente. I mean. Everyone in Palimpsest is queer. I like November most, though: I’m drawn to lonely, unassuming characters trying to fill the spaces left by their hopes.
- Alma – The Real-Town Murders, Adam Roberts. So Alma is here because she’s incredibly unusual in fiction: she’s in a long-term relationship with another woman, who she cares for 24/7. And they’ve been together so long (and Marguerite is so ill) that it’s not even particularly romantic any more. It’s a couple dynamic we see very rarely in fiction – although Roberts presents it so matter-of-factly it’s easy to miss how radical it is.
- Pencil Khan – The Glass Republic, Tom Pollock. Pen’s another really unusual character: a teenage girl, practising Muslim and trauma survivor who gets a queer romance that’s believable and adorable without getting in the way of the very real dangers she faces. All this is brilliant in a YA novel.
- Ingray Aughskold – Provenance, Ann Leckie. This is another novel where Everyone is Queer (the best kind of novel), and Ingray’s developing crush on a female police captain is just adorable. And one of those romances that make you want to shout “JUST KISS ALREADY!”
- Avice Benner Cho – Embassytown, China Mieville. I just remembered this one! Avice is in an asexual relationship with her husband Scile, because they don’t enjoy sex together but still want to be partners. Which is another unusual, and welcome, dynamic.
- Fevvers – Nights at the Circus, Angela Carter. OK, so it’s never confirmed that Fevvers is in a relationship with her chaperone? agent? friend? Lizzie, but my word this book is definitely queer. And Fevvers is brilliant: larger than life, subversively feminine, altogether wonderful.
(The prompt for this post comes from the weekly meme Top Ten Tuesday.)