Tag Archives: dystopia

Maggie reviews Girls of Storm and Shadow by Natasha Ngan

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Girls of Storm and Shadow by Natasha NganAmazon Affiliate Link | Bookshop.org Affiliate Link

I am always excited for queer fantasy, and I enjoyed the first book of the series – Girls of Paper and Fire – so I was quite excited to get to Girls of Storm and Shadow. Lei and Wren had been through so much in the first book, and I was excited to see how they’d come together in the aftermath. They had killed the King, and there was rebellion to shift power in the kingdom, and they were no longer concubines. There was a lot to build off, and a budding love story to watch. But Girls of Storm and Shadow had a very different tone from the first, not all of it an improvement, in my opinion. Although there was a lot of action, and it further revealed the extent of the rebellion against the King, it seemed to lack a lot of the urgency of the first book to me, although I’m still eager to see the final book.

The book picks up with Lei, Wren, and their band of escapees in the mountains, trying to gather up support for the rebellion. The book once again examines the trope of the pivotal figurehead of the rebellion, in that technically that is Lei, but she isn’t actually very helpful to them. The rumors of what happened in the palace have spread, making Lei into the Moonchosen, but outside of her title she has little power. She also can’t take care of herself in the mountains. Although she is the one that stabbed the King, she doesn’t actually know how to fight. Being from a common family, she has no useful political connections to bring to them. All of this forces Lei to play catch up, cramming weapons practice into their grueling trek, forcing herself to learn the survival skills the others know, and trying to glean the complicated politics of the rest of the realm. This is a fascinating twist on the usual “leveling up” montage the hero gets because the rebellion doesn’t actually seem to want her there all that much. On a personal level, the group likes her and is happy to teach her, but leadership seems to make no effort to include her into plans or, somewhat puzzlingly, change those plans to really capitalize on her presence. And the more Lei learns from being around rebellion leadership, the more she’s uncertain about what she’s signed on to do.

To my surprise after the smoldering intensity of the first book, Lei and Wren’s relationship quickly took a turn for the worse in the second book. Lei was still committed, but Wren distanced herself. She didn’t want to reveal their relationship to her father, and also didn’t appreciate Lei’s questions about her father’s intentions for the rebellion. And yet there’s also an ex that immediately pulls Wren’s attention once they come back into contact. Both of these storylines are not bad relationship storylines in general, necessarily, but they were not what I was expecting from the tone of the first book, and it left me disappointed in Wren.

There is also the typical second book of a dystopian trilogy “everything gets unbearably worse” happening, but it’s not just the rebellion’s prospects of winning that seem dim. As Lei tries to help them with their next moves, she realizes just how unprepared she was for the politics of the rebellion. She also learned how deep Wren is in those politics, and what she finds is not great. There are also some large discoveries that I don’t want to spoil, but that change things dramatically. I was prepared going into this book for things to get worse before they got better, but this book also seemed to take place over a relatively short period of time and yet get very little done. Up until the final act, it seemed they spent interminable amounts of times traveling during which there wasn’t as much action as I had come to expect from the first book.

In conclusion: this is very clearly the second book of a trilogy, and it took a very different tone from the first book. Wren and Lei’s relationship fell apart, the rebellion seems lackluster and barely better in ideals than the establishment, and a lot goes downhill at the end. But that’s pretty standard second book stuff, so I’ll reserve my judgement on the series as a whole until I see how the third book wraps it up. But this one was a little more difficult for me to get through than the first one.

Sinclair reviews The Book of the Unnamed Midwife by Meg Elison

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The Book of the Unnamed Midwife by Meg Elison

A friend recommended I read The Book of the Unnamed Midwife by Meg Elison, saying it was one of her favorite novels, and I trust her taste, so I picked it up. I was hooked immediately.

I didn’t know a ton about it going into it, so I don’t want to say too much about the plot so as to give you that same satisfaction of watching the events unfold.

I will say that it’s a speculative fiction novel, with a woman main character who is bi, and a lot of feminist commentary about surviving in a post-virus US. There’s a fair amount of survival skills and navigation happening throughout, too. I read it early on during sheltering in place, and while it was eerie to think we might be heading there, I still just could not put it down.

If you love speculative fiction that is queer, feminist, very thoughtful, and badass, this is the one for you. Just a warning, though — it was very violent in parts, and sometimes disturbingly so.

The book is the first of in a trilogy, and it only gets more queer, and the violence continues, as it goes along. I loved the last book, called The Book of Flora, and it goes even deeper into what it means to be a woman, to have a place in culture, if it’s possible to be redeemed or forgiven, how choices bring similar people to vastly different conclusions, and more big human themes.

What was so great about it? The entire world that Elison built is fantastic, and I love how much it reads like a historical document because of how she’s set up the unfolding of the timeline. (You’ll see what I mean when I read it.) It’s incredibly well written; I adore these characters and I feel the way I felt after finishing the TV show Six Feet Under: that I miss these characters and want to hang out with them. Perhaps I feel they have something to teach, or I have something to learn from them?

Speculative fiction (particularly books geared more toward YA, but adult too) is one of my favorite genres, and I’ve read it more than ever this year, despite our world feeling like we are in a novel like that sometimes. I go to it for escape and entertainment, but also because it grapples with big questions, particularly around trauma, survival, and psychology, and I love sitting with them and pondering. Now more than ever, we have to figure out how to take care of ourselves, our loved ones, our communities, and take care of the planet. The cutting edge writers of speculative fiction have been pointing us toward motivation, inspiration, and action for a long time, and it’s time to listen.

In short, there’s some horror in this book. Nasty behavior of a sick, sexist, transphobic, homophobic, racist, and colonialist society. But there’s hope, too, and beauty, and love, and illumination of so many things worth fighting for, and worth living for.

Danika reviews Love after the End edited by Joshua Whitehead

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Love After the End edited by Joshua WhiteheadLove after the End: An Anthology of Two-Spirit & Indigiqueer Speculative Fiction edited by Joshua Whitehead is a collection of science fiction and fantasy short stories by Indigenous authors. It’s edited and introduced by Joshua Whitehead, the author of Jonny Appleseed and full-metal indigiqueer. In that introduction, Whitehead reflects on the intersection between Indigeneity and queerness: “How does queer Indigeneity upset or upend queerness? Are we queerer than queer?” He goes on to explain that originally, Love after the End was going to be a collection of dystopic stories, but they pivoted towards utopias: “For, as we know  we have already survived the apocalypse—this, right here, right now, is a dystopian present.”

The introduction alone is thought-provoking and sometimes intimidating. Whitehead brings his study of theory to this work, and some of the ideas went over my head. I appreciated being introduced to these ideas, though, and it definitely left me thinking, including his mention of “contemporary erasures and appropriations of the term Two-Spirit by settler queer cultures who idealize, mysticize, and romanticize our hi/stories in order to generate a queer genealogy for settler sexualities.” Besides, this is an anthology by and for Two-Spirit and queer Indigenous people; as a white settler reader, I know I’m not going to understand every reference. The authors are from many nations across North America, and many stories include untranslated words from different Indigenous languages.

Although the introduction is academic, the stories themselves are written accessibly. They cover a lot of different topics, but many come back to the idea of space travel, and especially of evacuating a dying Earth. In one story, a portal is made that allows travel to an almost identical, uninhabited planet. The main character has a white partner who doesn’t understand the main character’s reluctance to leave, or her distrust of the supposedly peaceful government’s settlement of a “new world.” The Earth is ravaged, and left for dead by most–Indigenous communities are some of the few people who are willing to stay. Another story has the characters’ escape hinge on space travel that will use the Earth’s kinetic core energy to fuel it, leaving the planet destroyed. Each character has to decide whether they will stay or go, and what that means for their identity and relationship with place.

As I was reading Love after the End, I was reminded just how colonialist SFF often is as a genre, whether it’s about “conquering new worlds” and literally establishing colonies, or centring Medieval England in fantasy stories, or just holding up white, straight, cis, male protagonists as the heroes. This collection is such a refreshing change of perspective. These stories include a relationship with the land that isn’t common in science fiction stories. They assume a greater responsibility for protecting the Earth than I’m used to from a dystopia. The question of whether to stay on a planet that’s been destroyed by (white, wealthy) human activity is very different here than in a typical white space travel story.

“How to Survive the Apocalypse for Native Girls” is about a “Native girl who loves other girls” writing a manual on how to survive in this post-apocalyptic landscape. It’s also an exploration of what systems would replace the white colonial system once it collapsed. She explains, “See, when the borders broke, people decided that Kinship should be our main law instead. Except the problem was that Kinship means different things to different people. And sometimes people who should see each other as kin, inawemaagan, reject each other.” She loves and respects her culture, but is also critiquing this new system of power: who is left out? She find that Two-Spirit people, including her friends, are not always respected the way they should be. She grapples with the idea of what it means to be kin, and who decides.

Many of these stories use Nation-specific language for identity, which doesn’t neatly map onto white, European categories:

“The boys made fun of Kokomis ’ shirt. They said I’m a girl and girls shouldn’t wear men’s clothes. They said I’m wrong.” Her mother crooned. She gently grasped her face. “When you were born, your Kokomis held you in his arms and he looked at me with tears running down his face because he had been waiting his whole life for another îhkwewak like him, and there you were, I gave birth to you, and I was never more grateful for anything else in my life. You are a gift, Winu. And people are often jealous of gifts that are not for them.”

Reading this collection also reminded me of what I’ve read about Indigenous survivance. Gerald Vizenor, the Anishinaabe scholar who coined the term, says: “Native survivance stories are renunciations of dominance, tragedy, and victimry.” I recommend reading more about it, including at survivance.org. The stories in Love after the End position Indigenous people in the future, instead of the past. They frame Indigenous nations as not only subsisting, but using traditional knowledge and culture as strengths in current and future societies.

… There’s also an m/m romance story between a teenage boy and an AI who is also a cyberengineered super-intelligent rat! (In this story, same-sex relationships are accepted, but human/AI romantic relationships were the “the sort of thing that was whispered about, something that lived in the shadows.”)

I really enjoyed this collection, both as an addition to queer lit and as a much-needed collection of SFF. This is a great way to be introduced to a lot of talented authors, some of whom also contributed to Love Beyond Body Space and Time and some who are new to this collection. Usually in an anthology, I concentrate on the sapphic stories, but because Two-Spirit and Indigiqueer identities don’t neatly fit into white western categories of sexuality, I’m not going to try to separate those out. I will say that I think this collection is definitely relevant to Lesbrary readers, and it left me hungry for more Two-Spirit and Indigiqueer SFF!

Mary reviews Upright Women Wanted by Sarah Gailey

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Upright Women Wanted by Sarah Gailey

I’ve been thinking a lot about the future and trying to figure out what it will look like. Will this blow over in a couple of months and will things steadily return to normal? Or is the future forever changed and doomed? I guess it’s nice to think that even if it is the worst-case scenario we’re heading towards, there’s still hope for the LGBTQ+ community.

Upright Women Wanted by Sarah Gailey takes place in a future southwest where society is under the control of a fascist, religious, and patriarchal regime. The protagonist, Esther watches her best friend and lover Beatriz hang for deviant behavior and having “unapproved materials”. She runs away in the back a wagon owned by a couple of librarians, planning to join their group and somehow find a way to get rid of what she believes is a horrible part of her. She wants to become what the posters proclaim them to be, upright women.

What she instead finds is an underground LGBTQ+ community, bandits, violence, many secrets, and women that are leagues better than what the posters described.

Esther is a very real character in that she has a lot of issues and internal confusion to work through. It was interesting getting to see a character work through that in real time with the story and see her gradually overcome with it the help of people around her.

The characters were just as real. There was Bet and Leda, the couple’s whose wagon she initially snuck onto. Bet is gruff and tough, but has a heart of gold and genuinely cares for everyone in her crew. Leda is just as tough, but also shows more of her compassion externally than her partner. Finally, there’s Cye, who goes by they, is an apprentice to Bet, and doesn’t initially like Esther too much, but the two of them eventually grow to like each other and more.

The world building was wonderful. Every inch of struggle that would come with such a harsh environment is included here, no short cuts taken. This really is a post-apocalyptic future where our current comforts are not to be found. The author clearly did a lot of research and this comes through beautifully.

My one complaint is that the plot felt a bit rushed. There were a few beats and character developments that could have taken more time and build up. The characters, concept, and world building is great, and I just wish the plot had taken the time to give them to time they needed.

Overall, I genuinely enjoyed this, and if you’re looking for a western story with adventure and romance, this is just for you

Meagan Kimberly reviews The Names We Take by Trace Kerr

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The Names We Take by Trace Kerr

The Names We Take is a young adult dystopian novel set in Spokane, Washington after an epidemic called the One Mile Cough wipes out a huge chunk of the population. Pip, the protagonist, is an intersex trans girl just trying to survive.

But a group of bounty hunters has a different idea as they seek women and children to gather for a supposed safe haven called Thistle Hill Orchard. When Pip takes charge of a girl named Iris, she must keep the child safe and do what’s best for their newfound family.

The novel moves at a good pace as the action keeps its momentum going forward while the moments of peace allow the characters and reader to breathe. Kerr is adept at unraveling details about the characters throughout the narrative without falling into info dump traps. While the character development shines, the plot development fell a bit by the wayside.

The premise is that a plague hit Spokane’s population, but the One Mile Cough disease isn’t given much page time other than to say that’s how they got into this post-apocalypse world. Its origins or spread are never detailed, and the reader doesn’t know for sure how far it hit. It’s assumed the whole United States at least, as the citizens of Spokane have been left to fend for themselves. But the narration never confirms that guess.

As Pip goes through the new world after civilization has crumbled, she faces a great deal of the same prejudice and bigotry as she did before the world ended. She gets misgendered constantly and experiences violence at the hands of men. It’s a brutal pill to swallow as she continues to assert her existence as her true self, fighting narrow-minded bigots and righteous zealots who feel they know best for her.

But Pip finds reprieve in her relationships. Whistler, a survivor of One Mile Cough with PTSD, is her protector. Iris becomes the little sister she must guide and protect. Fly is the beautiful girl she falls for in the middle of the chaos around her. The dynamics between the protagonist and supporting cast are what make this book such a fascinating read. It’s the story of the family forged when people take a stand and fight for who they are.

The most interesting development in Pip’s character is her demeanor toward Iris. It’s clear that Pip doesn’t lack compassion, but she does lack patience. Running around with a twelve-year-old girl who is prone to pouting and eye-rolling, even in the apocalypse, teaches her a great deal of patience and love.

Another delightful aspect of the novel is its inclusion of periods. Post-apocalypse stories are notorious for staying away from the subject of menstruation, but it’s a problem that should be addressed, because it’s an unavoidable fact of life for people who menstruate. Kerr doesn’t shy away from the topic and details how Pip gathers pads and teaches Iris what to do when the young girl gets her first period.

The language around Pip’s gender and sexual orientation is careful and precise. It’s explained that she was born intersex and that her parents chose male for her at birth, but when she hits puberty and gets her first period, that’s when she finds out she was born intersex. As she grows, she becomes sure she wants to be a girl and takes steps to make her body appear as her true identity.

Throughout the novel, the audience sees her struggling when she’s called a boy or questioned about her gender. She clearly still holds insecurity and body dysmorphia over her masculine appearance in many ways. But Iris accepts Pip as a girl, even if the others in Thistle Hill don’t. Pip also reveals she is bisexual when she starts developing a crush on Fly. Her feelings fill her with fear, but Fly assures her it’s okay, as does another friend at the sanctuary.

The Names We Take is set to be published by Ooligan Press in May 2020 but is available for pre-order now from the author. Be on the lookout for it!

Danika reviews Once and Future by Amy Rose Capetta and Cori McCarthy

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Once and Future by Amy Rose Capetta and Cori McCarthy

That’s what resistance looks like, Merlin. It’s not one glorious, shining victory. It’s a torch you keep burning, no matter what.

I’m not even sure how to approach writing about this book, because it is so ambitious. Once & Future is a queer, sci fi retelling of the Arthur myth, with a female Arthur. It’s somehow simultaneously dystopian, sci fi, and fantasy. Dystopia, because in this future, the universe is ruled by the Mercer Corporation, which keeps everyone in line by controlling the supply of water. But there’s enough space ships to scratch that sci fi itch, and, of course, there’s Excalibur, Merlin, Morgana, and the Lady in the Lake to keep things fantastical.

That’s partly why it’s so delightful that this also has an almost entirely queer cast. (With several poc characters as well, but this isn’t as clearly defined, so I’m pretty sure Ari is Ketch (Arab) and Lam is Black, but I’m not sure about all the other characters.) Ari and her adoptive brother have two moms. Merlin is gay. Ari, Val, and Gwen are all queer, there’s an asexual character, and there’s a non-binary character who uses they/them pronouns. There is no explanation, no reason why everyone happens to be queer, except that in the future, they aren’t so weird about it. (When Merlin says that in his time, people use phenotypical features to guess people’s gender, the other characters are disgusted by this backwards belief.) It’s nice that we’re finally reaching the point where you can have a genre book packed full of queer characters, and to have it be entirely incidental to the plot.

Speaking of plot, I have no idea how to try to summarize it succinctly. Post global warming, humans retired Earth and sought new homes on the moon and on different planets. Ari was born on Ketch, but she was found as a small child in wreckage near the planet. Ketch, originally founded by Arab people, has since been sealed off under a barrier for their resistance against Mercer. Kay and his two moms adopt illegal refugee Ari and start running from the law. When they attempt to return her to Ketch, Mom and Captain Mom (!!!) are arrested, and Kay and Ari are left to fend for themselves–until Merlin shows up to tell Ari that she’s the latest (and first female) reincarnation of the legendary King Arthur, destined to bring down evil (Mercer), ascend the nearest throne, and unite humanity. (Ari is skeptical. Merlin thinks that this usually is easier: “Most boys secretly believed they should be heroes: the stories told them so.”) And that about brings us up to the first couple chapters.

The story is shared between Merlin and Ari. Ari is a reluctant hero, just trying to protect her family and friends and do the right thing. Merlin has been training dozens of incarnations of Arthur throughout time, all without fulfilling their destiny of uniting humanity. Every time, he has to watch Arthur die. He then sleeps in a cave until the next incarnation is ready to begin training. Not only is he stuck in this cycle, tormented by Morgana, but he’s also aging backwards throughout it. Now, he’s a teenager, and he’s terrified of what happens when he becomes a child, then an infant.

One of the things that Merlin is seeking to avoid this cycle is Gweneviere and Arthur’s doomed romance. Gwen and Ari are no exception: they’ve been at each other’s throat since childhood at Knights Camp on Gwen’s medieval-themed planet. Of course, that animosity may have just been hiding something else… Unfortunately, Arthurs are destined to have their hearts broken by their Gwenevieres, betrayed by the knight they trust the most: Lancelot. Ari and Gwen’s relationship is just as passionate and thorny as their star-crossed history would suggest.

And no matter what, Ari wasn’t going to be able to walk away from Gwen. She would stay right here, in the riot of her pain, for even a chance at this closeness.

There is also a moment near the end of the book that reminded me of this take on the “ultimate female power fantasy” of The Last Jedi, so that was pretty great.

In fact, if it hasn’t already been clear, I loved this book. It is epic and feminist and queer. It’s about resistance and survival, making connections and refusing to back down. It’s being bravely vulnerable. I loved that I got to know this whole ridiculous crew, who all add to the story. They become a family, in their stubborn, arguing, loyal way. It’s fast-paced, captivating, funny, and feminist. Despite the action and comedy, it’s also deeply emotional, and has moving f/f and m/m romances. When I first added this to Goodreads, I was a little disappointed to see that it’s the first in the series, because I worried that it wouldn’t have a neat conclusion, and I would have to wait for a long time to get the sequel. Now, I’m grateful, because I’m not ready to leave this family behind, and I definitely didn’t predict that ending. (Though I was right about one thing: I am impatient to read the sequel!)

And you were the thing Mercer feared most. A girl they couldn’t control, who wouldn’t stop talking. That’s the scariest damn thing in the universe.

[Content warning/spoiler, highlight to read: I do want to read a review by a Middle Eastern reviewer, because Ketch is described as a planet founded by Arabs, who lead the resistance. Unfortunately, they were all killed by the Mercer corporation. Although there is diversity in the crew, I didn’t feel good about all the Ketch people being killed other than Ari…]

Danika reviews The Swan Riders by Erin Bow

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The Swan Riders by Erin Bow coverAfter hearing only good things about the Scorpion Rules duology, I was eager to pick it up. Unfortunately, I read the first book during a readathon, and reading a crushing dystopian story about war and brutality was not the best choice to read all in one sitting. It was darker than I was expecting, so I wasn’t emotionally prepared for it. I was, though, interested in the ideas introduced in the book. So I took a few months break before I picked up the second book in the series, The Swan Riders, in the hopes that I would be more prepared this time.

I spend most of my time reading this book thinking This is the reading rule you seem to re-learn over and over: just because people say a book is great, doesn’t mean you, personally, will love it. I have long since realized that it doesn’t matter how high calibre the quality of a book is if it doesn’t immediately appeal to me. Still, I continued with the sequel, because I had heard it was an improvement from the last book. Perhaps I was less connected to the characters because of the break that I took between books, but I was having trouble pushing through.

I have, historically, been a fan of dystopian novels, but this one I found hard to deal with. It’s just so straightforward about the suffering experienced. The pain. The first book includes a detailed scene of torture that nauseated me. The second book describes the slow deaths of several characters, all involving increasingly close together seizures. While the first book has some semblance of an us vs. them clarity, Greta spends most of her time in The Swan Riders alongside the villain of the previous book.

By the end of the narrative, I had come around. The strength of this story is in its ideas, especially (for me) its exploration of personal identity and humanity. [spoilers for first book:] Greta is an AI now, and she begins to drift away from her humanity and empathy, assisted by Talis’s intervention. [end spoilers] It takes this idea, of an AI enforcing global peace, and shows how tangled it is. How can global peace be achieved? Can it? And what amount of sacrifice is worth it? Clearly, Talis’s strategy is not defended by Greta or the narrative, but there’s also not a tidy alternative.

As for the queer content, there is definitely no central romantic story here. In fact, Greta does not interact with Xie for the whole novel. But her presence is there, nonetheless. She is Greta’s tie to humanity, to retaining her true self. She is a memory that Greta clings to. She is, in some ways, the home that Greta spends each step of her journey longing to return to. So although she isn’t a central character, she is a very important one.

For all my ups and downs with this duology, I would still recommend it, but with some caveats: this is not a queer Canadian princess fantasy-esque story that the blurb had me prepared for. This is a dystopia that is focused on war and its casualties. It is thought-provoking, but brutal.

Danika reviews The Scorpion Rules by Erin Bow

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If you’ve been looking for the queer Hunger Games (or, at least, queer Mockingjay), this is the book for you.  Do you want to read about crushing oppression and the horrors of war, but with a bisexual protagonist? The Scorpion Rules is the book for you!

This was a bad choice for a readathon. I should have seen that coming, since this is clearly a dystopia, but the premise made it seem like a Fantasy novel:

Greta is a duchess and crown princess—and a hostage to peace. This is how the game is played: if you want to rule, you must give one of your children as a hostage. Go to war and your hostage dies.

A queer Canadian princess dystopia! I was expecting a page-turner. I was not expecting a YA 1984. At the beginning of the novel, I definitely was getting those Fantasy-esque sci fi vibes. Once Elián arrives on the scene though, things get darker. The group of hostages that Greta is a part of have grown up that way. They have been trained to be hostages. To follow the rules. Behave. They know the deal: just get through until they turn 18, and then they will go home, and become rulers–if they live to 18. If their parents don’t declare war. Elián has not been raised with this expectation. He is the hostage of a newly-established nation. He resists. He rebels. And he poses a threat to all of them.

This is a world that is ruled by an AI. The hostages are held captive by robot enforcers. There is a panopticon. The AI has aerial weapons. Machines don’t get tired. Which is all to say that escape is impossible. You can be shot down from the sky at any point. You will be electrocuted if you say the wrong thing, if you question the system. But Elián refuses to comply, and they are punished collectively–with increasing harshness.

This is not a light read. In fact, it becomes brutal. There is torture. The end has one of the most disturbing scenes I’ve read in a book. That was what reminded me of 1984: the ending.

You’ll notice that I haven’t mentioned a romance to this point, and that’s because although Greta has love interests, it really isn’t a significant part of the book. I did like Greta’s relationship with Xie, because it develops from such a close friendship, but I wasn’t exactly getting warm and fuzzy feelings.

I had mixed feelings about the villain, Talis (the AI). He speaks very casually (even in his “scriptures”), which toes the line to silliness at some points–but on the other hand, it almost makes him a more sinister character because of that. He does seem human.

As you can probably tell from this review, I have mixed feelings and thoughts about this. It wasn’t what I was expecting, but that’s my own fault for not knowing what I was getting into. I am definitely interested to pick up the second book, and hopefully I will have more coherent thoughts at that point.

Danika reviews Biketopia edited by Elly Blue

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A smart person once told me that the key to having a good life in the face of world’s uncertainty is to find something that is meaningful for you and go all-in for it. For me, that’s the real appeal of both bicycles and science fiction–no matter how grim the world looks, each other can take you to a place where you can see another perspective, explore your options, and even if they each have the potential to create as many problems they solve, at least you’ve gone somewhere in a way that feels good.

– The introduction to Biketopia 

If I’m being entirely honest, I’d have to admit that my favourite part of Biketopia is the cover. That’s not a slight on the stories! It’s just that the sight of this beautiful illustration of a badass woman raising a bike above her head is arresting. Add on to that these are speculative fiction, feminist, bike-centered stories? I’m sold several times over!

There are only two blatantly queer stories in this collection, but all the stories do focus on women and their relationships with each other. The premises range, including semi-utopias, horrific dystopias, classic sci fi, as well as settings that seem all-too-possible.

The first sapphic story is “Meet Cute” by Maddy Spencer, the only comic of the collection. It is wordless, and shows our main character bringing her bike-powered bookmobile through a town. Although we obviously don’t get a big backstory, this seems like a peaceful, cooperative place, and bikes look to be the only means of transportation (other than by foot or wheelchair). When her bikemobile tips over, an adorable mechanic with an artificial (robot? magic??) arm repairs it for her, and hands her a phone number while they both blush furiously. It’s very short, but super cute.

The other queer story is “The Future of Flirtation” by Leigh Ward-Smith. Mika runs a mobile shop in a post-climate-change, water-starved world. When a 6-foot-something muscled figure strides up to her stand, she is immediately smitten, even though she has no idea the gender or even species of the person behind the mirrored helmet. She spends the story attempted to flirt with them, while bartering over a cold can of Coke.

This was a fun read, and although there weren’t many stories that were incredibly memorable, I did find the variations on “feminist bicycle science fiction” stories interesting. They definitely went in different directions. This is actually the fourth volume of the Bikes In Space series, each of which explore feminist sci fi stories about bicycling, so that sounds like your style, you should pick one up! (Probably this one. It has queer stories and a sweet cover.)

Megan G reviews Forget Yourself by Redfern Jon Barrett

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Blondee’s world is comprised of fifty huts divided between four groups of people: least, minor, moderate, and severe. Each person is grouped based on what crime they committed in their previous life, though nobody can really know for sure what their exact crime was, as everybody comes into this world with no memories of who they previously were. The few memories people have are recorded in a book and used as rules to govern this world. The memories Blondee begins to have, however, will change the course of her world.

This is a tough book to review. It’s speculative science-fiction unlike any I’ve read before. Blondee’s world is new, both to the reader and to the characters, creating a deep sense of uncertainty throughout the novel that never fully dissipates. Every character is an amnesiac, making the world outside their prison compound a complete mystery and creating a strong sense of claustrophobia. We don’t know where we are, and we don’t know where we came from. I will admit, the eventual reveal left me scratching my head, but it also left me thinking in a way that very few dystopian novels ever have.

The issue of sexuality is just as complex as the rest of the narrative. Although Blondee’s world seems far more open-minded than our own, monogamy is still the law of the land, and when Blondee begins to shift into the world of polyamory she is quickly shunned by the rest of the compound. This is a world where everybody must act in the same way and follow the same rules, and having two lovers simply doesn’t fit with those rules. Despite the reaction of the rest of the compound, Blondee continues to date Burberry and Fredrick simultaneously, and, for a short time, this works for all three. Then, Blondee begins having memories.

The way that memory is dealt with in this book was something I found particularly intriguing. Everybody arrives into the world fully formed, but with no idea of who they are. When they do have memories, they’re vague. “If one person cheats, the other breaks up with them.” Nothing is personal or specific, and so it is believed that all memories are simply reminders of how the world works. When you’re with someone, they live with you. When you break up, you have sex once, and then one of you moves out. Things that in our world are decided based on personal preference are rules in Blondee’s world. This eventually leads to terrible consequences when Blondee remembers marriage, finds a bridal magazine, and re-introduces heteronormativy and traditional gender roles into a world that operated rather smoothly without them. This shift is one of the many social commentaries embedded within the narrative, and it may potentially be the only one that I fully grasped.

There are a few warnings you should be aware of before picking this book up. There is a decent amount of fatphobia within this book, all dealt with in a very casual way. Suicide is also a theme, and while it is not omni-present, it is rather explicit when it comes up. [major spoilers]This book also includes the death of a queer woman and of several queer men [end spoilers]. There is also explicit sexual content throughout the book, if that is something you prefer to avoid.

Overall, Forget Yourself is a tightly woven, complex story that deeply examines our society, sexuality, and the personal in contrast to the general. While I did greatly enjoy this story, I must admit that a lot of what happened in the final section went over my head, leaving me confused and a little unsatisfied. A second read might be in order, now that I (sort of) know where everything ends up.

One final note about Forget Yourself: don’t be fooled by the quick pace. This book initially seems like a light, easy, mindless read. It isn’t. It really, really isn’t.