Frances Hardinge - A Face Like Glass

Creativity to burn and layered in a way that transcends the all-too-obvious central metaphor. I would read more by Hardinge and am impressed by how much is crammed into this single, stand alone novel.

Rebecca Solnit - The Faraway Nearby

The Faraway Nearby is certainly about things, but just what those things are isn't so easily said. 

The stories we tell ourselves and which shape our lives, most obviously - a trite subject nowadays but explored by Solnit with great deftness and grace, in cascading sections that offer their insights in part through the paths they follow to reach their conclusions.

Solnit's difficult relationship with her mother, and with herself, and how this is brought into a different light by her mother's old age and mental deterioration.

The nature of the self, and its relationship to story and physical world. 

Illness.

Iceland.

It's a marvellous, beautiful book.

Dune: Part One & Part Two

One thing you can say for both these films, and maybe especially the second one - they have a vibe. They work as spectacle, which is to say that the visuals are spectacular and coherent with the tone and substance of the film as a whole (emotionally, narratively, thematically), so these movies unquestionably work on that level. Despite that though, and for all of the hefty thematic throughlines - colonialism and empire, religion and cultism, white saviourism, and their intersections - I can't shake a faint feeling of dissatisfaction. I'm not sure whether that's because these films partially (and deliberately) deny us the pleasures of conventional closure, there's a thinness in their story and characterisation, or both.

(Part One previously)

Waxahatchee - Tigers Blood

There are some nice songs that stand out on Tigers Blood - "3 Sisters", "Evil Spawn", "Right Back To It", "Crowbar", "365" - and there are some nice-sounding songs that don't. The sound is nice - cleanly metropolitan Americana. But, like Saint Cloud (which it seems everyone also loved) albeit stronger, I'm finding it overall a bit nondescript, 'country' music for people who maybe are more wired for pop-rock and what used to be called alternative ... but with enough of a quality to it that maybe it'll grow on me.

Wednesday - Rat Saw God

Proper rock that whines and crashes (and sometimes twangs), covers a bunch of ground and reminds me in glimpses of all kinds of outfits from the 90s through to the 2020s (in its vibe it's not a million miles away from Big Thief's Dragon New Warm Mountain I Believe You) in ways that make it feel of a lineage without being derivative. "Bull Believer" especially is immense.

Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert

Once I remembered to actually pay attention to the songs and the music, and maybe got my ear back in for Dylan a bit, this turned out to have plenty to offer - the 'acoustic' and 'electric' halves equally. Not life-changing, but good. And a bit of a way back to some ways of listening to music that I've neglected more recently.

Tana French - The Searcher

Another page turner from Tana French, though a slower burn than her others that I've read. It's the combination of the mystery, the investigation, and the character interactions and setting that make it so readable. It's subtle, believable and drenched in rural Irish atmosphere.

Katie Pruitt - Mantras

Expectations was a real one and I still listen to it from time to time. Three years on, Mantras feels a tiny bit less distinctive, like some of the elements that made Pruitt such a stand-out have been sanded down for a glossier package - it's subtle but still. Despite that, it's a strong album, its airy sounding country-rock-pop going down easily and the songs themselves sturdy. 

The ones I like more tend to be those in which she leans into the electric guitar - especially "White Lies, White Jesus and You", also "Worst Case Scenario" even if (and honestly partly because) it sounds like it could've been part of the soundtrack of any given high school movie pretty much in the last 25 years.

Maggie Rogers - Don't Forget Me

"It Was Coming All Along" is a real charmer, one of the best songs I've heard in ages - sound, mood and melody in perfect marriage. The rest of Don't Forget Me isn't near that level, but it never drags and the overall Fleetwood Mac / Haim-y vibe is super pleasant.

Kacey Musgraves - Deeper Well

I like everything about Kacey Musgraves but this one's not all that distinctive and another step down from what was already the relative lull of star-crossed.

Rhiannon Giddens - You're the One

On this one, from last year, Giddens sounds notably like she's having fun, like there's joy underneath this music. It's good, like seemingly everything she touches.

3 Body Problem season 1

Pretty good - serious enough, spectacular enough, unpredictably plotty enough, human enough.

Lev Grossman - The Magicians

Was thinking I might re-read the series but got distracted after just this one.

(last time)

Kelly Link - Get in Trouble

Kelly Link has been a slow burn for me. When I first read her, I was misled by the genre elements and underestimated how attentively her stories need to be read. Now I've learned, taught particularly by "Magic for Beginners" and how it seems to show its hand while a whole deeper layer is playing out underneath and becomes apparent only when you really look closely. 

In Get in Trouble, there's destabilisation in every story. These stories are unpredictable, and demand that you follow them without knowing where they're going. Often, important aspects of plot, setting or character are introduced early in ways that are deliberately impossible to make sense of without the context that comes from reading on; more than one story found me flipping back to the beginning to work out just what had happened after I came to its end. The trick is often discerning the straightforward (but only straightforward once found) line of events or motivation that is craftily obscured beneath the fantastic detail. There's always an intimation of darkness and the possibility of horror - but the horror is rarely realised, or at least not in the ways that conventional narrative leads us to expect, and never in ways that fail to serve a larger thematic purpose.

"Two Houses" stood out; also "Valley of the Girls" (which I've read before); and, with more ambivalence on my part, "Light".

Reading about Get in Trouble also led me to this interview with Link - 

There’s a writer, Howard Waldrop, who says that all writers, no matter when they are setting their story, have a personal timeframe; often childhood or adolescence or a moment in life which was traumatic or emotionally full of wonder, and so, and often when they write they draw on this landscape, those feelings, that moment in time, in order to frame how people interact, even if they’re setting stuff in the future or the past. What you want is for something to feel lived in.

and -

... seeking out the work and genres which are pleasurable to you, and when you’re a writer and you’re drawing from those sources, one of things that entails is thinking closely about what’s drawing you.

Genre’s strength is that the patterns genre depends on are sturdy ones. Because of this, they have great staying power. Also because of this, the patterns are conservative. They tap into symbols and correlations that come out of cultural consensus. When writers organize stories around patterns, especially when there’s a death, or a danger, or a bad person, there will inevitably be a metaphor at work. 

George Saunders - Tenth of December

How much is it a matter of personal taste, and how much of actual quality, that my favourites on this go-around - "Victory Lap", "Puppy", "Home", "Tenth of December" - are all free, or near enough to, of the irreal aspects that are such a distinctive aspect of Saunders' writing? Especially when you add in that the one that got me most strongly this time, the title story, is also unusual in that none of its major characters are particularly small minded or blameworthily selfish.

Third time reading this as a collection (first, second), not counting the many encounters with individual stories outside that.

Logan

Wasn't as great on a second watch, but that's not surprising. 

(last time)

Allison Russell - The Returner

With a looser, funkier vibe and no diminishment in the poetry and craft, The Returner sparkles.

(Outside Child)

Bottoms

Fizzy and fun, and all these years on, I still like a good high school movie. But this one suffers a bit from not being clear on what it's actually for.

Shirley Le - Funny Ethnics

It's the specificity that makes Funny Ethnics stand out, and the stealth amidst its directness. The humour's welcome too. It presents as an unblinking depiction of second generation Vietnamese migrant working class life in western Sydney and I don't doubt its authenticity; it has the trappings of a coming of age story but there's something undisclosed - resistant - about its narrator Sylvia and a slipperiness to its narrative arc that gives the novel an unusual character.

Thầy Trọng, a monk from the temple near Pizza Hut on Chapel Road, used to come in for Scripture class at Yagoona Public School. One of the first things Thầy Trọng taught us was the prayer 'Nam mô A Di Đà Phật' (Glory to Buddha). Winston Tran had laughed at the monk's mustard robes and said, 'Phật sounds like fuck!' Thầy Trọng quit after that. The Buddhist class got mixed in with the No Religion class and we spent Scripture hour watching Pocahontas.

James Norbury - Big Panda and Tiny Dragon

Really quite nice Zen-ish meanderings.