We Were Liars [Vi var løgnere] av E. Lockhart
POPULÆRE UTENLANDSKE UNGDOMSBØKER OVERSATT TIL NORSK
We Were Liars [Vi var løgnere] av E. Lockhart
notebook for the ages ♒︎
Release date: June 13th
High above a jungle-planet float the last refuges of humanity—plant-made civilizations held together by tradition, technology, and arcane science. In these living cities, architects are revered above anyone else. If not for their ability to psychically manipulate the architecture, the cities would plunge into the devastating earthrage storms below.
Charismatic, powerful, mystical, Iravan is one such architect. In his city, his word is nearly law. His abilities are his identity, but to Ahilya, his wife, they are a way for survival to be reliant on the privileged few. Like most others, she cannot manipulate the plants. And she desperately seeks change.
Their marriage is already thorny—then Iravan is accused of pushing his abilities to forbidden limits. He needs Ahilya to help clear his name; she needs him to tip the balance of rule in their society. As their paths become increasingly intertwined, deadly truths emerge, challenging everything each of them believes. And as the earthrages become longer, and their floating city begins to plummet, Iravan and Ahilya’s discoveries might destroy their marriage, their culture, and their entire civilization.
There’s a catfish under the islands of Japan and when it rolls the land rises and falls.
Sora hates the catfish whose rolling caused an earthquake so powerful it cracked time itself. It destroyed her home and took her mother. Now Sora and her scientist father live close to the zones – the wild and abandoned places where time runs faster or slower than normal. Sora is sensitive to the shifts, and her father recruits her help in exploring these liminal spaces.
But it's dangerous there – and as she strays further inside in search of her mother, she finds that time distorts, memories fracture and shadows, a glimmer of things not entirely human, linger. After Sora's father goes missing, she has no choice but to venture into uncharted spaces within the time zones to find him, her mother and perhaps even the catfish itself...
Assassin of Reality (Vita Nostra #2) by Marina & Sergey Dyachenko
Nine diverse books about animism, landconnectedness, folklore, and women in the meeting with ecological disaster.
Making Love with the Land (2022) by Joshua WhiteheadVoice: Aboriginal Australian, Turtle Island.
Themes: Identity. Indigeniousity, queerness, body and land, language and land.
Format: essays, memoirs, notes, confessions.
The StoryGraph summary: Making Love with the Land is a startling, heartwrenching look at what it means to live as a queer Indigenous person "in the rupture" between identities. In sharp, surprising, unique pieces—a number of which have already won awards—Whitehead illuminates this particular moment, in which both Indigenous and non-Indigenous peoples are navigating new (and old) ideas about "the land." He asks: What is our relationship and responsibility towards it? And how has the land shaped our ideas, our histories, our very bodies?
Here is an intellectually thrilling, emotionally captivating love song—a powerful revelation about the library of stories land and body hold together, waiting to be unearthed and summoned into word.
Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants (2013) by Robin Wall Kimmerer
Voice: Native American, Citizen Potawatomi Nation
Themes: ecological consciousness, animism, reciprocity
My rating: ♡♡♡♡♡\5
Goodreads summary: As a botanist, Robin Wall Kimmerer has been trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these lenses of knowledge together to show that the awakening of a wider ecological consciousness requires the acknowledgment and celebration of our reciprocal relationship with the rest of the living world. For only when we can hear the languages of other beings are we capable of understanding the generosity of the earth, and learning to give our own gifts in return.
Voice: Indigenous Australian
Theme: history, education, money, power, and sustainability
Format: text, illustrations
The StoryGraph summary: A paradigm-shifting book in the vein of Sapiens that brings a crucial Indigenous perspective to historical and cultural issues of history, education, money, power, and sustainability--and offers a new template for living.
In Sand Talk, he provides a new model for our everyday lives. Rich in ideas and inspiration, it explains how lines and symbols and shapes can help us make sense of the world. It's about how we learn and how we remember. It's about talking to everyone and listening carefully. It's about finding different ways to look at things.
Most of all it's about a very special way of thinking, of learning to see from a native perspective, one that is spiritually and physically tied to the earth around us, and how it can save our world.
The Way Spring Arrives and Other Stories by Regina Kanyu Wang and Yu Chen (with several female and nonbinary creators)
Voice: Chinese, female, and nonbinary fantasy and sci-fi authors
Format: short-stories
The StoryGraph summary: From an award-winning team of authors, editors, and translators comes a groundbreaking short story collection that explores the expanse of Chinese science fiction and fantasy.
In The Way Spring Arrives and Other Stories, you can dine at a restaurant at the end of the universe, cultivate to immortality in the high mountains, watch roses perform Shakespeare, or arrive at the island of the gods on the backs of giant fish to ensure that the world can bloom.
Written, edited, and translated by a female and nonbinary team, these stories have never before been published in English and represent both the richly complicated past and the vivid future of Chinese science fiction and fantasy.
I first heard about Deathless (2011) by Catherynne M. Valente five years ago as a book similar to the "Shadow and Bone" trilogy by Leigh Bardugo. And I want to start by falsifying that statement: these books are nothing alike. They share types of characters and both have Russian-inspired settings, but that is where the similarities end. Deathless is a dark and gritty tale of wars that took me by surprise and left me obsessed. It's ruthless and whimsical and magical and devastating. It's unforgiving in such a way you can feel it in your marrow.
“I have survived, but I have not been spared.”
A handsome young man arrives in St Petersburg at the house of Marya Morevna. He is Koschei, the Tsar of Life, and he is Marya's fate. Koschei leads Marya to his kingdom, where she becomes a warrior in his tireless battle against his own brother, the Tsar of Death. Years pass. Battle-hardened, scarred by love, and longing for respite, Marya returns to St Petersburg - only to discover a place as pitiful as the land she has just fled: a starveling city, haunted by death. - Synopsis
First, I need to mention that I lack knowledge about the setting and the folklore the book is built upon. Thus, this will not be a review critiquing the folktales or who can write and represent these myths and eras. This will be review is solely my reaction to the work and its entertainment value to me. In similar words, I went in blind and naive to the context, taken with the promises of a "historical Russian setting" and "Slavic folklore." I think that is also where a lot of my confusion stemmed from at the beginning of the story, and I didn't read up on it before I closed in on the end, wanting to make sure I better understood the context of the book as it seemed to move outside the little knowledge I had. Ultimately its merge with historical events was what made this book unforgettable, and I regret I did not know more about the source material before I opened the book. Yet, I am not sure if it would have surprised me as much as it did if I knew the original folk tales.
The first thing that stood out to me was the prose. It is different from anything else I've read. At first, I struggled with it, but now it feels like I have been nested in a nice, warm house (the irony). I've been reading this book in sips since mid-June, so it is expected that I have grown accustomed to the tone of this universe.
What startled me, was how devastating this book turned out to become. The backdrop of the wars starts as a subplot about the progress of the wars, and how the Tsar of life and the Tsar of Death are always at war, and "the war is always going badly." We notice how the territories shrink and expand as a reflection of them, and how every death is a new soldier for the other side, and how life gets displaced. Then, at a point, Marya returns to Leningrad which "was once called St. Petersburg, then Petrograd, then Leningrad, and then, much later, St. Petersburg again," and re-enters the real world during the Second World War.
Chapter 23 is the worst chapter I've ever read in many right ways. It's cataclysmic. It's so utterly godforsaken, that I struggled to read through and past this point in the book. Until now, it has been a villain-steals-maiden plot, a ruthless-abusive romance arc, a she-needs-to-learn-to-become-cold-and-cruel-like-life-arc, how-can-I-save-the-other-Vasilisa/Yelena, and so on. And now we have the Siege of Leningrad in the early 1940s. 600-800k people starved to death.
“A ration card says, This much life we have allotted you. It says, This much death we can keep from your door. But no more. It says, In Leningrad there is only so much life to go around. It says, The only thing not rationed in Leningrad is death."
"(...) she cried, but without tears, because you cannot have tears without bread.”
When I think back, the coldness associated with life was promised early in the book. I expect life to be warm and plentiful, but this book starts out in a Russia where food is scarce and winters are harsh for the common folk, and it returns to a Russia where the situation is even worse. Where Life rests its fight.
"(...) the strong and the cruel still sit on the hill, and drink vodka, and wear black furs, and slurp borscht by the pail, like blood. Children may wear through their socks marching in righteous parades, but Papa never misses his wine with supper. Therefore, it is better to be strong and cruel than to be fair. At least, one eats better that way. And morality is more dependent on the state of one’s stomach than of one’s nation.”
This book is written in the third person so you always have a certain distance from the characters. That might be one of the reasons why I did not feel particularly much for the romance part of the plot. It felt cold even during its explicit scenes. The sex always felt obsessive, a tug of war of "who's to rule" where Marya is still an abduction victim. She learns the rules of the play even if she can "never be queen." In the original folktale, she's supposed to be a mightier character than what she's given credit for in this book. Still, I noticed her strength growing as she moved through the plot beside Koschei, and how she learned to express strength was not compatible with Ivan's groundedness later on. Despite this, their actions show that there was a relationship of sorts going on even if it was messed up. I think little says it as Koschei himself, “I do not tolerate a world emptied of you."
This book wanders in fairy tale devices. Repetition is something you'll notice quite frequently. It's not an annoying type of repetition. It often most set the setting or is a phrase repeated but gently changed to fit another character and scene. It also makes an argument for reputation inside the book, fairy tales repeat themselves, told from mouth-to-mouth, always with predestined endings, and this is a book based upon fairy tales - if you know the folktale, you likely know how it ends. Also, in Part 2, we get the most fairytale-like scenes of the book, the small advances towards happiness. We also meet mythological creatures like the firebird, a three-headed dragon, the domovoi (house spirits), and villainous figures like Baba Yaga.
"Walk the same tale over and over, until you wear a groove in the world, until even if you vanished, the tale would keep turning, keep playing, like a phonograph, and you'd have to get up again, even with a bullet through your eye, to play your part and say your lines.”
Something I took note of was how the realm of the Dead\Viy's country was portrayed. It is said to be a place where "the death can live anew in peace and suffer no more." They also turn into ghosts whose hunger for life never ends. I've noticed similarities between Norse and Slavic mythology before, and I'm curious if this could be one of these instances as well.
There are many things I could discuss from this book, examples to use, and themes that occur. Yet, I have to conclude at a point. I loved this book. I struggled with it, I grieved with it, and at parts, reveled in the mythical wonders of it. The premise was always dark and it surpassed my expectations by miles. I am sure there are many things I've missed and overlooked after having only read this book once. When I pick it up in the future, it need to do more than simply experience it to better grasp the journey I've been through. It's not one I'm forgetting soon.
Rating: 5\5
Trigger warnings:
Abusive relationship\sex, starvation\famine, abduction, death (a lot of it), force-feeding.
Information:
Format: Paperback Genre: Alternative history, mythology, fantasy Demographic: Adult Number of Pages: 352 Year of publication: 2011 Series: Standalone
The Darkest Part of the Forest (2015) by Holly Black is a teen novel about growing into your childhood dreams. The book follows the siblings, Hazel and Benjamin who lives in a small town adapted to the frequent visits by the dangerous and trickery Fae Folk. In the forest, a fay prince rests in an unbreakable glass casket. Both Hazel and Ben dream about waking him up and falling in love, just as in the fairy tales. When the fairy attacks on the town intensifies and the casket finally breaks, Hazel and Ben must figure out the truth of the fairy court’s relationship with the town and their prince, and step into the heart of the forest before it is too late.
The Darkest Part is part fairy tale, part romance. It offers up two relationships to cheer on – a gay one and a straight one. Both are great and satisfying for the reader. The queer relationship isn’t bolded out in any way, but skillfully braided into the world as the most natural thing that could happen. However, there is a minor instance of homophobia from parents in the book in their past.
One of my favorite things about this book is the large amount of different fae and creatures introduced. There are tons of them and I love to see the twisted curses the fae put on people. It feels surprisingly believable when it is already rooted in a small, cursed-blessed town where well-founded superstition run through its marrow. The whimsical nature of it all kept me turning the pages.
The characters are wholesome. I think if I’d read this book when I was thirteen, I’d want to be exactly like Hazel – a knight who fights monsters, falls in love, and get to experience a grim and enchanting fairy court. Or maybe Ben, who plays enchanted music, and longs for a prince to love him back. Or maybe, Severin or Jack. All the characters were fantastic!
As a sibling myself, I highly enjoyed the close sibling relationship. It shows how far siblings are willing to go to protect each other, and the undeniable love and trust between siblings that is often hard to understand for only children. While we mostly experience Hazel and Ben in the now, we also get to learn about how they grew up together with neglectful parents, and how it shaped them and their relationship to each other and others. For this book to only be a little over 300 pages, we get a lot of content in all the good ways.
The Darkest Part of the Forest by Holly Black is a slice of whimsical and creepy magic I’m happy I picked up, and wish I’d picked up sooner. I loved the knighthood tale of Hazel, and the love stories. I loved the relationships and all the characters. The fae court is terrifying, but stunning. The bargains unpredictable nature makes you want to keep reading. I throughoutly enjoyed this read.
This is a book fitting the lower YA/Teen demographic. It has a somewhat childlike expression that should be expected if you're a older reader.
Rating: 5\5 stars.
Information
Format: E-book Pages: 336 Genre: Fantasy Demographic: Teen Year of Publishing: 2015 Series: Standalone. Unfolds in the same universe as The Folk of the Air and Modern Faerie Tales.
Trigger warnings
Child neglect. Animal death. Homophobia (minor).