i got my hands on an early finished copy (♥ you, nightfire!) and LO! just like Nettle & Bone, there's a little spoNOW AVAILABLE!
**********************
i got my hands on an early finished copy (♥ you, nightfire!) and LO! just like Nettle & Bone, there's a little spooky-shiny surprise hiding underneath that gorgeous dust jacket
[image]
and some kickass endpapers
[image]
nightfire is KILLING IT!
**********************
i had food poisoning recently and spent the day in bed reading. first i read the poe-medley that was The Last Laugh, and then i read this one, which i had just gotten in the mail the previous day, making all the books that have been sitting here unread for months n' years SO MAD.
it was a risky decision, though, because this one is ALSO poe-themed, and i was worried that i would get the two books mixed up in my dum-dum brain, or that i might get so poe-saturated that i wouldn't be able to enjoy this book, which i'd been looking forward to almost violently ever since i first glimpsed its stunning cover, which is gonna be such great shelf-buddies with this book when it comes out:
[image][image]
fortunately, t. kingfisher always comes through, and this The Fall of the House of Usher rework was nothing like The Last Laugh's treatment of the same source material, so they didn't meld in my brain, and there was room for both in my heart.
which brings me to the author's note. sure, it may be unconventional to call out the author's note before talking about any part of the book (besides that cover), but bear with me. raaar.
so, you know how fungal horror is, like, a thing now?
well, What Moves the Dead is also about fungi—in fact, it opens with a particularly unpleasant description of a particularly unpleasant mushroom, and the fungus is among us until the very end.
but, so kingfisher was blithely writing this book, gaining steam and pleased with her progress...
...and then I happened to read the magnificent novel Mexican Gothic, by Silvia Moreno-Garcia, and thought, "Oh my God, what can I possibly do with fungi in a collapsing Gothic house that Moreno-Garcia didn't do ten times better?!" and shoved the whole thing in a virtual drawer and took heavily to the bottle. (Seriously, put down this book and go buy that one. Then pick this one up again, of course, God forbid anyone not finish the Author's Note, but make sure you've put Mexican Gothic on your reading list.)
But.
Well.
As writers say to each other, "Yes, it's been done, but you haven't done it yet."...and also my fungus was different, dammit...
i find it absolutely delicious that kingfisher, who has written a billion excellent books, is both (unnecessarily) concerned about her writing not measuring up and also so generously enthusiastic about other people's writing, but the main takeaway from that is even if you're all fungi-d out, take a note from my poe-athon and make some room in your heart for this one.
you won't need to make much room; this is trim and streamlined—a gothic novella stripped of the genre's usual hundred or so pages spent shadowing the heroine as she stumbles down corridors weighed down by dread and restrictive undergarments.
here, we have the magnificent lieutenant easton, who is gendered as a soldier, not by their plumbing, and tho' they do become weighed down by dread after being summoned to ruravia—the location of the crumbling manor house inherited by their "genteelly impoverished" childhood friends roderick and madeline usher—"dread" is the only rational reaction to what they find on their arrival: roderick whittled down to the bone, madeline so very pale and wispishly addled, the grounds riddled with staggering hares, the pondfish bursting with slimy fibers, the waters around them aglow.
but soldiers don't let dread (or tinnitus) prevent them from taking action, and along with eugenia potter (aunt to beatrix, illustrator and would-be mycologist, if females were permitted to mushroom), dr. denton (but not the pajamas), and angus; easton's batman (but not the emo superhero), easton and what's left of the usher siblings investigate the puzzle of what's rotten in ruravia, and What! Moves! the! Dead!
t. kingfisher never needs to worry about taking the well-trod road, because even when she does, her style and skill make her the most memorable traveler, so even when you know where she's going, you'll enjoy the journey AND the destination.
i got my hands on an early finished copy (♥ you, nightfire!) and LO! just like Nettle & Bone, there's a little spooky-shiny surprise hiding underneath that gorgeous dust jacket
[image]
and some kickass endpapers
[image]
nightfire is KILLING IT!
**********************
i had food poisoning recently and spent the day in bed reading. first i read the poe-medley that was The Last Laugh, and then i read this one, which i had just gotten in the mail the previous day, making all the books that have been sitting here unread for months n' years SO MAD.
it was a risky decision, though, because this one is ALSO poe-themed, and i was worried that i would get the two books mixed up in my dum-dum brain, or that i might get so poe-saturated that i wouldn't be able to enjoy this book, which i'd been looking forward to almost violently ever since i first glimpsed its stunning cover, which is gonna be such great shelf-buddies with this book when it comes out:
[image][image]
fortunately, t. kingfisher always comes through, and this The Fall of the House of Usher rework was nothing like The Last Laugh's treatment of the same source material, so they didn't meld in my brain, and there was room for both in my heart.
which brings me to the author's note. sure, it may be unconventional to call out the author's note before talking about any part of the book (besides that cover), but bear with me. raaar.
so, you know how fungal horror is, like, a thing now?
well, What Moves the Dead is also about fungi—in fact, it opens with a particularly unpleasant description of a particularly unpleasant mushroom, and the fungus is among us until the very end.
but, so kingfisher was blithely writing this book, gaining steam and pleased with her progress...
...and then I happened to read the magnificent novel Mexican Gothic, by Silvia Moreno-Garcia, and thought, "Oh my God, what can I possibly do with fungi in a collapsing Gothic house that Moreno-Garcia didn't do ten times better?!" and shoved the whole thing in a virtual drawer and took heavily to the bottle. (Seriously, put down this book and go buy that one. Then pick this one up again, of course, God forbid anyone not finish the Author's Note, but make sure you've put Mexican Gothic on your reading list.)
But.
Well.
As writers say to each other, "Yes, it's been done, but you haven't done it yet."...and also my fungus was different, dammit...
i find it absolutely delicious that kingfisher, who has written a billion excellent books, is both (unnecessarily) concerned about her writing not measuring up and also so generously enthusiastic about other people's writing, but the main takeaway from that is even if you're all fungi-d out, take a note from my poe-athon and make some room in your heart for this one.
you won't need to make much room; this is trim and streamlined—a gothic novella stripped of the genre's usual hundred or so pages spent shadowing the heroine as she stumbles down corridors weighed down by dread and restrictive undergarments.
here, we have the magnificent lieutenant easton, who is gendered as a soldier, not by their plumbing, and tho' they do become weighed down by dread after being summoned to ruravia—the location of the crumbling manor house inherited by their "genteelly impoverished" childhood friends roderick and madeline usher—"dread" is the only rational reaction to what they find on their arrival: roderick whittled down to the bone, madeline so very pale and wispishly addled, the grounds riddled with staggering hares, the pondfish bursting with slimy fibers, the waters around them aglow.
but soldiers don't let dread (or tinnitus) prevent them from taking action, and along with eugenia potter (aunt to beatrix, illustrator and would-be mycologist, if females were permitted to mushroom), dr. denton (but not the pajamas), and angus; easton's batman (but not the emo superhero), easton and what's left of the usher siblings investigate the puzzle of what's rotten in ruravia, and What! Moves! the! Dead!
t. kingfisher never needs to worry about taking the well-trod road, because even when she does, her style and skill make her the most memorable traveler, so even when you know where she's going, you'll enjoy the journey AND the destination.
WELCOME TO APRIL PROJECT! since April is the cruellest month, i have chosen this coloring book, in which Thirty-one realistic portraits of extraordinaWELCOME TO APRIL PROJECT! since April is the cruellest month, i have chosen this coloring book, in which Thirty-one realistic portraits of extraordinarily beautiful birds offer close-ups of exotic species from around the world. my plan is to make them even MORE realistic by showing each one of these monsters devouring an itty-bitty ME! like this TOUCAN:
[image]
do you see what this wing'ed scourge is doing to my HEAD? it is an outrage!
[image]
i probably won't be able to do this art textbook detail-enhancement thingy for each of them because of space, but if there’s interest, maybe i’ll add them to the blogversion of this review at the end of the month. i will also be accompanying these imaginary, but plausible, atrocities with ones ripped from nature. observe:
[image]
i mean, who's to say those aren't my little legs dangling from the maw of that beast? and don't think they're not coming for you next:
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anyway, birds gobbling me up. WHAT WILL HAPPEN LET'S FIND OUT!
APRIL 1: CUBAN TODY
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look at this asshole SEETHE.
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you can tell he's just waiting for me to go to cuba so he can prey on me, but i'm no april fool. for now, he'll have to make do with consuming a fellow-flier.
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NB: i'm not bothering to do any research about what any of these abominations actually look like before i color them. apologies to mother nature for disregarding her palette.
APRIL 2: FISCHER'S TURACO
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typical jerk-bird behavior: using concealing coloration to blend into the david bowies hoping i'll let my guard down and he can nibble me to pieces.
[image][image][image][image]
APRIL 3: FLAMINGO
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these guys pretend to be harmless; all goofy and awkward
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but let's take a closer look
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yeah that's what i thought...
APRIL 4: GOLDEN-OLIVE WOODPECKER
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this peckerwood is bad news, always spying through your windows
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and peeking up ladies' skirts.
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0/5 stars: would not recommend.
APRIL 5: GREAT CRESTED GREBE
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what's so great about this douchebird?
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great pain in the ass, maybe
[image][image][image]
who does that? the great crested grebe, that's who!
APRIL 6: HOATZIN
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these guys have "a disagreeable, manure-like odor" (wikipedia's words, not mine, and you know she always tries to be polite), but that's just their way of keeping you at a distance so you don't notice that they have CLAWS on their WINGS like a freaking DRAGON.
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hoatzin: portrait of a serial killer
STEP 1: self-deprecating levity.
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STEP 2: your eyeballs cocktail-olived onto their claws.
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APRIL 7: HOOPOE
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okay, sure, they're pretty
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but on the rare occasions when they're not trying to eat all of my fingers,
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they're always sticking their pointy beaks into their neighbors' mouths, pranking them with bugs they've found under rocks. hahaaaaa gotcha!
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slow motion NOOOOOOOOO
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APRIL 8: MARABOU STORK
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Marabou Stork Nightmares is the world’s most redundant book title and i could spend the whole day warning you about these burn victim/plague doctor/skeksis.
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seen here eating my forearm
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and my heart
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the ONLY good thing about them is that they're one of the few birds that hate birds as much as i do, and they really keep the other-bird numbers down
[image][image][image][image][image]
and that's the marabou stork.
APRIL 9: PALM COCKATOO
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wow, okay, i really miscolored this sinister mofo
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even as babies they look atrocious
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and if you need more proof that birds are always one step away from eating us alive:
[image][image][image]
shhhh, i'm gonna bite her lips off in three seconds!
APRIL 10: PURPLE HERON
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whoops, mine's a not-so-purple heron
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these guys eat snakes
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lizards
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screaming fish
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and, sadly, zvika monar
APRIL 11: WOOD STORK
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these wood dorks don't even pretend to be good guys. hanging out with other maneating dinosaurs
[image]
eating tourists
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cosplaying guilty remnants
[image][image]
and just generally making a nuisance of themselves
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APRIL 12: ATLANTIC PUFFIN
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i mean, this is basically a mirror image photo. these guys could eat a whole city of mes. another perfect match, this bird:
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and that thing from SAW
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tweet tweet tweet
APRIL 13: CROWNED CRANE
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look at this koosh ball doucheball
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dressing up like a saint
[image]
but acting like a damn demon
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unafraid, unstoppable
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if there's ever a Cujo remake, give this bird a call
[image][image]
APRIL 14: MAGNIFICENT FRIGATEBIRD
[image]
we calling this thing magnificent, are we?
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frigate THAT! this is magnificence? this testicular nightmare waving his inflatable junk around like he's louis c.k.?
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somebody cancel this chubbo before he explodes everywhere
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is it cold in here or is it just you?
APRIL 15: IMPEYAN PHEASANT
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look at this showy motherfucker
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with his four leaf clover church hat
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nature abhors sartorial parity—look how drab the female is
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but she's not sulking because she's jelly of this dude's dapper threads—she's just trying to avoid eye contact so he doesn't start up his goofy-ass mating dance.
[image]
put that one back in the evolutionary oven, it's still a dinosaur.
APRIL 16: MACARONI PENGUIN
[image]
sure, they're great dancers
[image][image][image][image]
but if they'll turn on their own
[image]
they'll sure as hell turn on you
[image]
and cover themselves in your blood
[image]
macaroni and teeth: now you're the comfort food.
[image]
APRIL 17: CASSOWARY
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be very wary...of the cassowary.
[image]
seen here eating someone's testicle
[image]
and hollowing out a toddler
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i know that many of you think i am overreacting to the threats birds pose to humankind, and that's fine. but maybe keep my warnings in mind when it comes to the cassowary. these are its feets, ffs:
[image]
here are its top stories:
Why is the Cassowary the Most Dangerous Bird in the World?
Bird Kills Florida Farmer with its ‘Murderous’ Claws
How to Survive a Cassowary Attack
Cassowary That Killed Owner Being Put Up for Auction
so...i guess we don't learn, eh? caveat emptor.
[image]
APRIL 18: RUFOUS-TAILED JACAMAR
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look at this smug little bastard
[image]
smug, loudbeaked
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and hungry
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APRIL 19: BLACK VULTURE
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say.
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no.
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more.
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and, seriously, i'm almost out of space here wtf?
APRIL 20: ROSEATE SPOONBILL
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so, it's a flamingo who stuck his nose where it oughtn't've?
[image]
who, me?
i suppose they're pretty enough, like nature's ballerinas
[image]
but—nope—too much wing, that is terrifying
[image]
but i has stick 4 u?
[image]
TOO MUCH WING, I SAID! NEXT!
APRIL 21: COMMON KINGFISHER
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the all-too-common kingfisher all-too-commonly disregards the rules, only looking after his ownself.
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enjoy your ill-gotten fish, beakface
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nom nom nom
APRIL 22: RED-KNOBBED HORNBILL
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ugh, what a knob
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that's it, that's all i got
APRIL 23: TEMMINCK'S TRAGOPAN
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off with their heads! has goodreads decreased the review space AGAIN??
i am a huge fan of animal-horror books. i don't care about the type of animal or the qualityHAPPY PRIDE MONTH!!!
AND SO SPOOKTOBER BEGIIIIIIINS!
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i am a huge fan of animal-horror books. i don't care about the type of animal or the quality of the writing—if there's a monsterfied animal running amok and attacking folks, i am there, rooting for nature.
possums eating human flesh? yeah, sign me right the hell up.
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first things first: if you are an animal enthusiast
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you will already know that there is a difference between a possum and an opossum.
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i disagree with that cutie v. freaky distinction, since i think opossums are every bit as cute as their australian counterparts
[image] #nofilter
but in this book, and to most people stateside, these critters are 'possums,' dammit, and that silent "o" gets dropped like it was never even there because silent letters are for suckers and if you want to get noticed, it's better to scream.
i know a lot of people have knee-jerk negative reactions to possums, with their plague doctor faces and graspy-tentacle tails
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but they're harmless little critters; their defense mechanism is pretending to be dead, for goodness' sake, and all that hissing and tooth-baring ain't nothing but bluster
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as sophia, the book's preteen possum advocate, has learned from animal advocates on the youtube: "...it's near impossible to provoke a possum into biting you. They're sweethearts."
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they eat ticks and cockroaches by the thousands, they're essentially immune to rabies, and they're the only marsupial we have in the u.s., so we should cherish them and give them all of our bananas.
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however, it must be said: possums do not give a fuck. i was leaving my friend's place one night, and as i opened the door to the foyer, i noticed a possum waddling down the stairs approaching the exterior door.
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i crouched down to say hello through the glass because i am a Friend to the Animals, and that mofo hissed at me.
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it then waddled back up the stairs and i opened the door, whereupon it looked over its shoulder at me and hissed AGAIN, like i was the intruder preventing him from getting to his apartment.
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i respect that attitude.
another thing possums do not give a fuck about is genre conventions. in this book, the first victim of the monstrous marsupials, whose bites turn people into human-sized possums, is the one who would ordinarily be the final girl: a good and decent young woman who storms out of her boyfriend's place after calling out his friends on their racist jokes. true, she accidentally hit the possum with her car, but she was trying to HELP it when it attacked her.
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and what about the aforementioned sophia—defending their reputations, rescuing a batch of baby possums from the pouch of their dead mom, feeding them kitten formula and calcium supplements with a teensy eyedropper and trying to save their lives. do the possums spare her?
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no spoilers here, although i will disclose that possums can really RUIN a wedding reception.
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this one is great fun, and it ends with what i hope is a foreshadowy tease for another book, featuring another species.
fun formatting facts: there are no page numbers, it skips from chapter nine to chapter eleven (but there's no missing content; chapter ten is just silent like the opossum's o), there's a secret code for those of you who speak languages or are tattoo artists:
[image]
my favorite formatting idiosyncrasy is that the trigger warnings are AT THE END of the book. no, i won't tell you what they are. animal horror is strictly survival of the fittest.
(wait for it......)
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fun fact that isn't about formatting: the very morning i started reading this book, i was hand-feeding a squirrel (see above: Friend of Animals) and it misjudged what was me and what was nut and it BIT my thumb! i have not yet turned into a squirrel, but i'm still holding out hope. and nuts.
this book is part of a series of killer-animal books whose faux-distressed covers were designed by kealan patrick burke:
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i have already read The Roo and both The Buck Stops Here and The Cassowary are on their way to me as i type this, but i have only been able to find 'dillo mentioned online, with no way to throw money at it and have it here in my home.
[image]
any information about when it will be published/where i can get a copy would be greatly appreciated, because i am NOT going to type 'dillo into amazon again and have their algorithm shout OH YOU MEAN DILDO? HERE IS A SELECTION OF DILDOS FOR YOU SINCE YOU LOVE DILDOS SO MUCH!
in conclusion, possums.
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holy shit, i just learned she wrote Backyard Zombies, which i read YEARS AGO for a project. small world!!
val chesterfield is a renowned linguist whose crippling anxiety disorder has forced her to turn down numerous opportunities to study rarNOW AVAILABLE!
val chesterfield is a renowned linguist whose crippling anxiety disorder has forced her to turn down numerous opportunities to study rare languages in the field.
dead languages are her special passion, and her life is quiet, lonely—the act of translation satisfying the frisson of human connection that others derive from a more traditional social life.
I felt safest in my office, alone with my books, charts, runic symbols, and scraps of old text; and when I deciphered a chunk of language—even a word!—a thrill of understanding juddered up my spine. The distance between me and another human being, just for that moment, was erased. It was as if someone were speaking to me, and me alone.
those who cannot travel, teach, and val's sent many students off on the scholarly linguistical indiana jones adventures she wishes she could pursue. she is finally coaxed out of her academia-swaddled comfort zone by wyatt speeks. the ornery climate researcher is requesting her expertise on a hush-hush project: a young girl's body was discovered frozen in a glacier off the coast of greenland, hundreds of miles from any known indigenous population. miraculously, she has been thawed out alive, but she is speaking a language no one can decipher.
the offer's secondary lure is that wyatt is the last person to have seen val's beloved twin brother andy alive before his inexplicable suicide five months earlier, and val's nonagenarian father—crankily installed in a nursing home with lung cancer, diabetes, and a grudge against andy's mentor wyatt—encourages her to buck up and go off to one of the world's most remote locations to find out what really happened to his favorite twin.
it's set in nuunyviak—an uninhabited island off the northwest coast of greenland—where val, wyatt, and the girl named sigrid wedge themselves into tiny buildings made insignificant against the massive nothingness of nature along with the mechanic/cook jeanne, and the married polar marine scientists nora and raj chandra-revard (who offset everyone else's gloomy loneliness with their chirp chirpy-love). val makes some progress in communicating with the girl, but the endeavor goes from "interesting academic pursuit" to "matter of great urgency" when sigrid starts getting sick and val can't figure out what sigrid is so desperately trying to get across in order to save her.
it's atmospherically superb—as claustrophobic inside the research facility as it is outside, although it's too slow-paced to be the thriller it claims to be. there's a pretty significant action sequence chonk at the end—so cold and harrowing, however, the story has a softer, more emotional texture than a typical thriller; containing themes of grief and healing, of forming a connection to the earth and to other people, of love, nature and vulnerability, and a leetle touch of magic.
there's also a lot of lovely, lovely language stuff
The word in Inuktitut for climate change translates to "a friend acting strangely"—what a personal and beautiful way of describing a relationship to the natural world.
but also a reminder about how bewilderingly complex language can be, flashing my dusty brain back to my ONE undergrad linguistics class:
I'd forgotten the complexity of West Greenlandic, which is a polysynthetic language, meaning the words are composed of multiple elements called morphemes, word parts that often created "sentence-words"—the longest of which is over 200 letters long. Nouns were inflected for one of eight cases and for possession. Eight moods as well as the number and gender of both the sentence's subject and object inflected every verb. Countless subdialects sprang like weeds. On top of this, most things had two names, the common one and the word used for outsiders—white people, called Qallunaat—to confuse them.
i mean, it's a wonder any of us can communicate with anyone anywhere anytime but it does make me feel better about writing such an inarticulate review.
the takeaway here is that i need to be sent off to the arctic circle in a tiny little hut so everyone will leave me alone and i can just get things done.
"Anyone who goes into the mountains brings the mountains back with them."
that's an efficient summary of the book, but if you want to NOW AVAILABLE!!!!
"Anyone who goes into the mountains brings the mountains back with them."
that's an efficient summary of the book, but if you want to make a stew out of it, add that nietzsche/abyss quote, some lovecraftian themes and adjectives, and SO many birds—specifically DEATH BIRDS:
"Don't you know the stories? Death birds are said to guide the souls of fallen climbers out of this world. If you believe what the old guides and mountain folk say, at least."
"And do you?"
He smiles. "Did you know mountain rescuers often find fallen climbers without their eyes? By the time they find the bodies, the birds have already gotten to them. Ravens, jackdaws, crows; they pick out the eyes and swallow them up."
"Jeez, really?"
"Ask one of those guides. They say the birds do it so the soul is free to escape. Otherwise it's doomed to stay and haunt the place it was found in. But sometimes the soul doesn't want to leave and it lingers inside the bird for a while. They say that if you listen, you can hear their screams coming from the mountains at night."
and now i have a new fear.
i am someone who loves horror novels that smoosh supernatural elements into the dangers of nature, because even without the things that go bump in the night, the natural world'll always find a way to rock-block the hubris of humans trying to cram themselves into nature's most intimate parts without consent—digging further, diving deeper, climbing higher, and nature has a very specific way of expressing that no means NO:
Every year, climbers—sometimes entire teams—disappear into deep glacial voids and die in their frozen darkness. If the mountain is merciful, the drop is deep enough to smash them into silence in one go. Most victims, however, are trapped between blue, narrowing walls of ice, and as their body warmth melts the ice, they sink slowly deeper and deeper, until they die very consciously of asphyxiation.
and now i have two new fears.
Echo is about a man named sam whose experienced-mountaineer boyfriend nick sets out with his even-more experienced companion augustin on an alps-scaling jaunt and comes back alone—physically, psychologically, and biologically changed. nick's former golden-boy beauty has been ravaged; the lower half of his face swathed in a mummy's worth of bandages holding what's left of his face in, but his personality, his aura has also been altered—he's brought back unspeakable horrors from the aptly-named Maudit; a stuff-of-legend tardis of a mountain where ancient forces scoff at human stuff like scale and logic and geometry, and are now clinging to him like psyche-rooted parasites, affecting everyone who comes into contact with him and unleashing The Morose on the valley below, along with—as i have mentioned—so many birds.
although at first sam is repulsed by nick's spooky new characteristics, love conquers all, and he finds that new-nick is not without a certain dark intoxicating quality—the allure of vertigo that the french call l’appel du vide (the call of the void), the yawning-abyss dizziness kierkegaard described as "the dizziness of freedom," the same that inspired an italian songwriter to declare: la vertigine non é paura di cadere, ma voglia di volare (vertigo isn’t the fear of falling, it’s the desire to fly).
none of those references are specifically in the text, although this book is absolutely a polyglot's delight, riddled with often-untranslated bibbits of evocative phrasings that forced me to dust off my slumbering frenchiness.
the shape is a multi-POV, time-slippy narrative, mostly linear but pockmarked with holes, where the structure contributes to the reader's discomfort—you kind of always feel like you're walking in mid-conversation, the missing plot-points feel like missing time after a seizure or fainting spell and it's all wonderfully eerie and uncomfortable.
it's a surreal and suggestive kind of book, and although i'm not usually a fan of this kind of incomprehensible, unfathomable, joseph-and-the-coat-of-many-cosmic-horror-descriptors style of horror, i was surprised and thrilled to find myself completely creeped out several times, which is a rare occurrence for me. that whole opening bit with the blink-encroaching wraiths:
The people in the stairwell are still there. They're closer now.
as well as the thing that happens to the boy on the operating table and the smile nick draws on his bandages:
He turned to look at me, and, man, chills up and down my spine. On the bandage strips, where his mouth shoulda been, he'd Sharpied a smiley mouth. A black, half-moon curve, crossed at the edges for round Cupid cheeks. Coulda been innocuous, but wasn't. Cuz his head was moving and the smiley wasn't, giving his face the grisliness of a puppet come to life.
But the top half was real, and that was Nick. He made a muffled sound, looked happy to see me.
He typed on his iPad:
Smile!
This way you'll always know it's me and never mistake me for someone else. When I smile, you don't have to be scared of me, okay?
I couldn't tell if he was joking or not. I smiled to be on the safe side and said, "I'm not scared of you."
But I was.
his fear is entirely justified, as was mine soon afterwards:
When I looked up, I saw him slowly swing his right arm and put his hand on his Sharpied smiley mouth.
yeesh.
and the cold, i mean THE COLD, it's a monster all on its own:
I hadn't even gotten halfway to the village before I wish I'd stayed home. The valley was on the verge of a panic attack. The mountains seemed to have been disjointed. The sky rocked. The cold unhinged. There are November mornings when the cold is clear, crackling, and crisp, but this cold was sticky, syrupy, clung to you. Like it was begging you for help. You, the first organism to have crossed its path, and would you please take it with you and protect it from what's about to happen, because that was much, much worse than the cold itself.
Jesus. The Morose hadn't even got started yet and my metaphors were already going haywire.
the day i finished this book, winter finally dumped a bunch of snow on us, and since i can now participate in the instagram-experience even though i still stubbornly refuse to own a pocket-phone, i foolishly decided to photograph this book out in the blizzard i had to brave on my way to work. i posed it here and there, trying to find the perfect alps-looking background, whilst being buffeted by the wind, waist-deep in a snowdrift, and by the time i had taken way too many very average shots, my fingers were completely numb and i had to stop off at connor's so he could wrap my hands in a hairdryer-warmed scarf until i could feel them again and i have never felt such pain as the thawing of my fingies. needless to say, i was late to work, but once i was finally on the subway, i came across this passage and it made me laugh ever-so-ruefully:
I stick my frozen hands under my Gore-Tex coat and in my armpits. The burning pain that takes over my fingers as the blood flows back into them pushes all my thoughts out of my head and I have to scream.
all of that, and this is what i got:
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oh, well. i did my best.
anyway, this book is spooky and i liked it very much. that is my review. i did my best.
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i am very grateful to tor/nightfire for sending me this ARC, and for caring about my safety enough to also send along a handy first-aid kit to protect me from life's quotidian scrapes, even though it would in no way protect me from the dangers of LE MAUDIT.
TOO MANY SNAKES! VIGILANTE MASTIFF VOWS TO REDUCE OUTBACK'S SNAKE POPULAa review in headlines:
AUSTRALIA TO ANIMALS: TRY TO STAY ALIVE, CHUMPS!
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TOO MANY SNAKES! VIGILANTE MASTIFF VOWS TO REDUCE OUTBACK'S SNAKE POPULATION TO HONOR FALLEN MASTER
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QUOKKAS: THEY'RE JUST LIKE US!
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this is the fifth book in the LOVE series, each installment a beautifully-illustrated wordless story focused on a particular animal; sort of a day-in-the-life-of-nature, depicting the challenges of surviving within various ecosystems: predator v prey, animal v man, nature v climate change, etc.
the struggle is real.
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an argument can (and HAS) been made that brrémaud is more interested in drawing a bunch of different animals than with telling a specific story, but when you draw as well as he does, i think you should be able to do what you like without reproach.*
i mean, look at this platypus shaking itself off like a puppy!
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look at this mama kangaroo defending her joeys!
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look at this koala fighting off a bird!
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look at this baby-roo slapfight!
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look at this wombat getting its butt bitten by a dingo!
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there is a story here, but like all the other books, it strays from its titular creature and takes a widescreen approach, showing off the sometimes brutal way nature goes about its business.
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like any nature documentary, they are always equal parts lovely and upsetting, and i, for one, never feel betrayed when brrémaud drifts from the ostensible center of the story to see what's happening elsewhere—detours are opportunities.
opportunities for quokkas!
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* remembering only now that federico bertolucci is the one with the art credit on these, so i guess brrémaud just lounges around in his bathrobe waving his hands around magisterially, intoning "now we see the platypus rising from the water whilst a kestrel looks on," like sir david attenborough and bertolucci must scribble furiously to keep up. here, too, the struggle is real.
“What do people look for out of a story, Spin? You told enough of them to know.”
I thought a moment, then answered. “They look for it t
NOW AVAILABLE!!!
“What do people look for out of a story, Spin? You told enough of them to know.”
I thought a moment, then answered. “They look for it to have a good shape and end where it’s supposed to.”
this is a good/better/best kind of trilogy: The Book of Koli set everything up, The Trials of Koli widened the margins, and this massive conclusion explodes everything, resetting the pieces beautifully.
after all,
When something big starts to fall, it goes as gentle as thistledown at first. But oh, how it gathers!
although the books are named for plucky protag koli, he was never my favorite character, so when the second book split the POVs between koli and spinner, it was a very welcome development. this third book has three POVs, and when that third voice unexpectedly took over, i literally gasped with excitement, and my little readerheart pitter pattered. it was exactly the angle the story needed, and it provided some excellent insights and clarity and depth, brilliantly upending some notions we as readers had been taking for granted.
over the course of the three books, the characters have changed and grown with their experiences, although koli remains pretty gormless, and his voice is by far the least appealing of the three. his boundless empathy, loyalty, and wide-eyed approach to the world around him should make him ill-suited to survive that world, but the characters accompanying him on his journey: ursala, cup, and monono, provide enough cynical grit to keep me invested, and to keep koli from chasing a butterfly into an abyss or something.
while koli & pals are off exploring the ruins of ingland and coming up against some truly diabolical foes, spinner's story relates the challenges facing those left behind in mythen rood. she's become a formidable strategist; militarily, defending the village against outside forces, and politically, using her position to propose changes sure to rock the social hierarchy koli already set a-tremble by exposing the lies everything's been built upon.
she has achieved so much by this point, and matured with her hard-won knowledge, taking on a great deal of responsibility at the expense of her peace of mind.
Smiling in the face of horrors is a thing you can get better at. It was probably one of the first tricks our mothers' mothers ever learned.
she's smiled through plenty of horrors and suffered enough losses to understand the finer points of loss and mourning.
Grief's not a debt we owe. It wells up or it doesn't.
everything here is bigger—more action, more moral quandaries, more philosophizing about the double-edged sword of technology and progress, and the myriad ways that power—whether scientific or societal—can be abused.
there's also plenty to chew on if you dig mind/body matters in a transcending corporeality kind of way: numerous AIs exploring themes of agency v programming, clones, implanted memories and their effect on personality, and a sensitive and nuanced treatment of gender identity in characters who are "crossed," like cup.
the story's big and complex enough that it (mostly) doesn't have to rely on polarizing characters into categories of 'good' and 'bad,' nor presenting 'right' and 'wrong' solutions to problems. the wide range of experiences allows for an equally broad field for the exercise of individual choice in weighing opportunities.
there's a parallel in characters like chevili and nanashol declining to take part in koli's plan to unite all of ingland's survivors because they're happy as they are and veso's decision to forego gender reassignment surgery,
He said it was not so much a thing of flesh and blood for him, what he was, but a thing that was mostly inside. Body is a shadow, he said. When I fall in love, I won't care about my lover's shadow, nor I wouldn't expect them to look overlong at mine.
it's a very thoughtful and rewarding end to the series, and the strongest piece of the whole.
however, i have a mini-complaint: for all the premise-promise of the killer trees and their prominence on the (goddamn gorgeous) covers, they don't have much of a presence in the book. there are far bigger threats in this world, and their snatch-and-grabby ways are more of a theoretical-occasional than a constant peril.
but all was forgiven when monono name-dropped my beloved l.c.:
"They've got that look about them. A bunch of Josephs in search of a manger, as Leonard Cohen would say."
"I don't know what that means."
sigh. of course you don't, koli... of course you don't.
this second book, published just five months after The Book of Koli, is even better than the first, and feels much much bigger, even though it is onlythis second book, published just five months after The Book of Koli, is even better than the first, and feels much much bigger, even though it is only slightly longer in actual page count. part of it is the splitting of the story between koli and spinner this time, circling back to show, through spinner’s eyes, what happened after koli left his village (no spoilers), while continuing to move koli and his traveling companions forward on their adventures, exposing him to more of the world beyond his heretofore limited experience.
this book widens the scope of what we’ve seen so far, and broadens the part we’ve already seen with a different perspective; fleshing out koli’s village and its social structure with details that would have been kept from him.
none of the specifics of what happen will make sense to anyone who hasn’t read the first book, so i’ll avoid any of that and do more of a big-picture take on the series so far. i love the worldbuilding, and the fact that it’s an aftermath sitch taking a number of factors into account. the changes to nature, to society, to language, how the postcollapse dangers aren’t just the affected plants and animals, but the diminishing human gene pool, the lack of medical care, and, i suppose, also the cannibals. the bottom line is that these climate-changing, world-breaking problems are the result of humans doing bad things, and those explanatory/accusatory parts are a little heavy-handed and preachy to the choir that is me, but i do appreciate that some of the remaining technology in this world is a little beyond what we have now, so i take comfort in the suggestion that our collective doom, which will certainly come soon, is not quite here yet.
between the first-person POV and the fact that both spinner and koli are telling their stories looking back from some point in the future, there’s less tension in the ‘will they survive?’ category, but we can still worry about the fates of all of the secondary characters, whether or not they are flesh-and-blood, and carey’s done a great job developing them into complex characters you feel for and want to see stick around for the duration of the trilogy.
i am enjoying this series mightily, and am grateful that they are coming out with only a few months in-between them (part three, The Fall of Koli is scheduled to be published six months from now, in march 2021), so i won’t forget the details with my these-days-addled mind.
i’m ending this with an excellent quote that applies to this book, all books, and Life Itself:
There ought to be a rule in the telling of stories, my husband complained to me once, after I had brought him some dismay with a sad one. You ought to say before you start whether things will be brought in the end to a good or a bad case. That way them that are listening can gird themselves up somewhat, and be ready when the ending comes.
I told him I was sorry for the hurt to his heart and promised to give him fair warning next time. But I thought more thereafter, and in the end I came to this thinking on the subject. There can’t be any rules in the telling of stories. They’ve got to go where they go, which is not always where you would want them to. And as to the happiness or the sadness of it, that depends on where you’re standing. A happiness for one is sometimes a sadness to another. Or it might only be a happiness when you squint one eye. Or you might not know, even after it’s all done, whether it came out well or badly.
the story is the same, so i suppose i don't have much actual reviewing work to do here, but i do want to say a few words about uncle jerry.
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where to begin with uncle jerry's life lessons?
A shark will not attack a human. It’s a proven fact.
survey!
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says!
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wrong!
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That pie over there is more likely to attack you than a shark.
wait, this pie?
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this pie?
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THIS PIE, JERRY???
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uncle jerry may have meant that the pie would be more likely to attack monty than it would be to attack a shark, which seems to bear out—i could find NO images on internet of a shark being hit in the face with a pie, but i DID find an instance of a pie attacking monty:
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however, i do not think that the advice about how to defeat the cowardly shark, should you encounter one in the ocean, is sound.
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rabbits can actually be quite bold
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and if there's one thing "monty" knows by now, it's that rabbits can also be deadly
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look, the only uncle jerry i know is this guy
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and he is NOT trustworthy.
but go ahead, ignore my warnings, listen to uncle jerry, have a great time in the water.
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just don't come crying to aunty karen when the shark hits the fin. <--- nailed it.
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if you learn one thing today, let it be the fact that sharks are just as drawn to vomit as they are to blood.
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so unless you want one of these giving you an 'oh, hai'
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keep all your fluids inside the moving vehicle of you.
this middle grade horror book is a hundred and a half times better and darker than anything i read during m[image]
MAKE SPOOKTOBER GREAT AGAIN!!
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this middle grade horror book is a hundred and a half times better and darker than anything i read during my own middle grade years.
it's a framed tale of seven fox kits who, one chilly autumn night, are hungry for scary stories—far scarier than the babyish ones their dear old fox mum knows.
in what may very well be a br'er rabbit anti-warning, she plants a seed in their little fox heads:
"Sorry to be a disappointment," their mom said, lying down. She paused and looked at the kits with all seriousness. "But you must promise that no matter what you do tonight, you will not go to Bog Cavern."
The kits' ears perked.
"What's...Bog Cavern?" the alpha asked.
"That's where the old storyteller lives," their mom said. "If you go there, you'll hear a story so frightening it will put the white in your tail."
so, obviously, as soon as she falls asleep, the skulk of foxen set straight off for bog cavern, where they do indeed meet the storyteller, who proceeds to tell them not one but seven terrifying stories over the course of the night. in-between each story, we witness his audience dwindle as, one by one, the kits slink back to the safety of their den until only the littlest fox remains to hear the final tale.
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so the book is structured with a setup-introduction that leads into the seven stories, broken up by brief chapters (on black pages!) of the foxes' reactions to or commentary on to the stories, followed by a perfect ties-it-all-together conclusion that is equal parts chilling and heartwarming.
the stories may not be suuuuper scary to a grown woman, but they are certainly dark, and certainly terrifying to the fox kits as they are trick-or-treated to tales of unfortunate fox succumbing to nature's myriad perils: rabies, snakes, hunger, cold, rivers, badgers, rival foxes, as well as to the threats of man: traps, and—inexplicably—beatrix potter, who scoops up assorted woodland creatures to use as unwilling art models until she can draw them well enough to trap their souls in her paintings, before using their lifeless bodies in her whimsical taxidermy projects.
yikes.
the illustrations are beeyootiful, creepily offsetting the harshness of the stories' situations
People forget that. The glossy brochures for state parks show nature at its most photogenic, like a senior picture with all the
The world is not tame.
People forget that. The glossy brochures for state parks show nature at its most photogenic, like a senior picture with all the pores airbrushed away. They never feature a coyote muzzle-deep in the belly of a still-living deer, or a chipmunk punctured by an eagle's talons, squirming as it perishes in midair.
If you're quiet in the woods long enough, you'll hear something die. Then it's quiet again. There's no outrage about injustice, or even mourning. One animal's death is another's dinner; that's just the way it is. What remains will go to the earth, yesterday's bones sinking into today's dirt..
and that's how you open a book.
i expected to like this book because mindy mcginnis and survival stories are chocolate and peanut butter, but it turned out to be even more aligned with my personal tastes than i’d realized. not only is it a survival story, but it’s a grit lit survival story, set deep in the tennessee part of appalachia's woods-and-mountain isolation, trailers and factories and working poor resourcefulness, with some unexpected meth. at the center of it all is wilderness queen ashley—independent and impulsive, reluctant to ask for help, not reluctant to get her hands (or fists) dirty (bloody), stubborn as balls, and entirely capable of being on her own in the un-airbrushed part of the woods.
usually.
on this occasion, she gets in a little over her head during a boozy camping trip with her friends, after catching her boyfriend reacquainting himself with his ex, and i admit—at first i was unconvinced that a girl so familiar with the do’s and don’ts of wilderness safety would find herself in this situation—getting herself lost after stomping off into the woods, barefoot and enraged, and—worth repeating—BAREFOOT, but then i remembered that inebriated teens lack judgment and i just rolled with it.
and soon, ashley herself will roll with it, allaway down a hill, becoming seriously wounded on one of those bare, bare feet and separated from her friends with no supplies—no food, no water, no tampons. because—yes—mindy mcginnis has finally written the story i have always wanted to read—a survival story that directly addresses menstruation.
mcginnis does so many things well here—there’s great character work and strong descriptions of nature, which is just bare minimum your job as an author, but she goes on to perform the more subtle operation of gradually fusing the two. ashley is a little messy, in the way of teenage girls—reactive and hotheaded (one of the first things she does when she finds herself in her predicament is to get pissed off at a squirrel; throwing leaves at him and calling him a dick), while nature is its own kind of messiness, uncultivated, amoral, ungovernable and not even a little bit impressed by temper tantrums. ashley is introduced into this environment as other, but as the days pass and she travels deeper into the woods, further away from civilization, she becomes absorbed into the wildness—just another creature struggling to survive (or not), feeding and being fed upon in nature's relentless cycle.
eating a tick engorged with your own blood is some serious circle of life umami.
ashley is knowledgeable without being infallible, and her abilities are realistic and commensurate with her background and experience, details of which surface throughout the book. every part of her past has something to contribute to her fight for survival—her poverty taught her to ignore hunger, her cross-country training taught her to push her body past the pain, her father and her wilderness mentor taught her...all of the outdoorsy things—and she draws upon all of it, stacking up skills like building blocks in a—let's call it capability stratum—of brain, body, and spirit that give her a much better chance than i'd ever have of making it through. did i mention she's barefoot?
this pretty much sums up our ashley:
…the scar on my calf, the remnant of a deep cut from the steel siding of a neighbor’s trailer that opened me down to the muscle when I was trick-or-treating, my Wonder Woman cape getting stuck in between the stacked cinder blocks they used for steps.
I pulled my sock up and told them I was fine, because they were a nice old couple that gave out whole candy bars instead of bite-size, and I’d never had a whole candy bar to myself in my life. I limped home, shoe full of blood, and ate the candy bar in the back of the truck while Dad took me to the urgent care where they charge only half what the ER does and do stitches as good as anybody else.
she's badass, and it's not as though she doesn't struggle, because she certainly does, but she's grown up with the woods as a playground (Our games were made of mud and sticks, rocks and dirt.) and as a school—learning how nature is through years of observation, then learning how to be a part of it: how to make fire, build shelter, forage, hunt, fish, track, etc. along with the skills that can be taught, she has the innate deepgut character traits of pride and stubbornness that make a person endure, against reason, fighting 'til the end. this character in this situation is so much more plausible than some other YA survival books i could name, like ohhhhhidunno (cue anger-slitted eyes) The Raft? that book features a scene VERY similar to one here, which only one of the books does right. (view spoiler)[ohhhh mama possum!!! unlike The Raft, in which the stupidest character of all time manages to kill a mama AND a baby seal but can't bring herself to eat either of 'em, your sacrifice was not for nothing. (hide spoiler)] man, that scene was so goddamn sad. but not sad AND wasteful, which is something.
the only thing i wasn't crazy about was the coincidence-trail, wherein credulity was sacrificed for narrative appeal, and that's fine, but i didn't need it. what i DID need was that raccoon/buzzard story. it's only a couple of paragraphs long, but it says everything and it's a scene that's going to stay in my mind for a long time, reminding me to read anything she ever writes. ooh, especially if it is a reverse-jonah story written from the POV of that fish that ashley swallowed and then immediately vomited back up—still alive—into the water. what did he take away from the experience as he swam away? what did he do with his second chance at life? did he immediately forget being in ashley's tummy? these questions are more pressing to me than anything davey-related.
it was the perfect book to usher me in to my new way of life—my world comprised of just these walls and what even is this "outside?" oh, it’s full of hunger and wounds and possums who try to eat your bare feet? thanks for saving me from that, cuomo! it is not for me.
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EXPECTATIONS: MET
review to come!
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From the best-selling author of "Not a drop to drink" Mindy McGinnis comes a new contemporary book about a girl who gets lost in the woods.
mcginnis having brought The Female of the Species into the world means this tiny synopsis is all i need to know i need this.
months later, i am still in quarantine, wondering if all of this has been an extremely ballsNOW AVAILABLE!!!
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months later, i am still in quarantine, wondering if all of this has been an extremely ballsy publicity stunt by paul tremblay to promote this book. WELL PLAYED, TREMBLAY!
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when is a zombie novel not a zombie novel? when paul tremblay’s writing it!
I was kind of joking when I said zombies, but not joking at the same time. They’re sick people and they turn delusional and violent and they bite, but it’s easier to say zombie than “a person infected with a super rabies virus and no longer capable of making good decisions.”
with all the coronavirus-panic going on right now, this was a perfectly timed read for me. ain’t nothing like reading a horror novel about a highly communicable disease whilst riding on a subway car filled with people wearing surgical masks. it’s right up there with the time i was reading The Plague on a deserted subway platform around 2am and a rat ran over my foot. good times.
this is one horrifying, propulsive ride, where all the action takes place over the course of a few hours, in the book-version of ‘real time,’ telling the tale of a super rabies virus that is fast-acting, reason-obliterating, communicable AF, and fatal. oh, and bitey. soooo bitey.
if you’ve read The Cabin at the End of the World, you know that tremblay is not going to pull any of his punches - he’s an old-school concrete-surfaced playground beckoning you to come skin your knobby little knees. this one starts brutal and doesn’t let up, and it’s a reminder that effective horror needn’t have any supernatural elements at all—science is more than terrifying enough. the descriptions of afflicted humans—how their lurchy-staggery gait sounds across gravel, their word-salad babblings and barking-coughing ejaculations, and—dear god—the way they BITE, it is intense, it is chilling, it is goddamned good fun.
the horror is offset by humor, pop culture references, and he even managed to sneak some MATH in there like it’s SCHOOL. like The Cabin at the End of the World, it centers around the question of “what are you willing to do to save the ones you love?” and while some of the decisions here are ethically dubious and put innocent, uninfected lives at risk, hey—times is hard and this playground ain’t padded.
a special shout-out for “the tiny terrors” of infected cuties:
Danger skulks undercover in the fields; the tall grass bows and waves, whispering of the epic battle to come. The zombie foxes are the first to attack. The scent of their musk announces their stealthy approach. The zombie raccoons are next. Their snorts and chitters fill the air, broadcasting their immutable intentions.
and—you guys—a zombie deer! all of this woodland animal menace occurs in the section called You Will Not Feel Me Between Your Teeth, which—if i am remembering what he told me correctly—was paul’s desired title for this novel, inexplicably shot down.
but at least there’s a tiny fox on the bookspine.
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a wonderful terror of a book. THIS! ONE! HAS! TEETH!
even BETTER than that day was when i got my inscribed ARC of this in the mail, along with this crazy little bookmark/pin combo, and i don't yet know what it MEANS, but it looks like The Tailypo: A Ghost Story, so i am already deliciously freaked out!!!!
fulfilling book riot's 2020 read harder challenge task #20: Read a middle grade book that doesn’t take place in the U.S. or the UK
The first book in a
fulfilling book riot's 2020 read harder challenge task #20: Read a middle grade book that doesn’t take place in the U.S. or the UK
The first book in a can't-put-it-down, can't-read-it-fast-enough action-thriller trilogy that's part Hatchet, part Little Shop of Horrors!
i read this at what i felt was an appropriate pace, and i could and did put it down, so now i'm worried that i may be a grouch. how can you tell when you've crossed over?
i barely read any middle grade, but this seemed like it would be right up my alley. and yet, i didn't love it. i mean, it's fine, i'm probably just too old for it, but i thought i would give it a shot because i'm intrigued by the new wave of eco-horror that's been coming out lately (the novels, not the news). this one delivered more plant-specific horror than The Book of Koli, but i'm not sure if i will keep going with the series (even though i know who i am so i probably will, but it will feel more like duty than pleasure)
the plant-aggression was fun at first—seeds raining from the sky, assault-by-pollen, vines rocketing thru town, gulpy mario plants, etc
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but then it got...silly.
even though it's middle grade, the protagonists; petra, anaya, and seth, are teenagers, but they're not much else. they're defined by individual primary-color traits: seth is a new-here foster kid, petra is beautiful and popular and allergic to water, anaya is allergic to...everything, the girls were friends and now they are not, GO!
there's not much character depth and there's too much about being pretty and being jealous. the girls read kind of samey, and seth is just this moony kid in the middle of 'em; arbiter and prophetic dream-haver, forecasting that soon their individual "things" will transmute into another "thing" by which they will be identified.
Last night I had a dream. I was flying, and when I came down low over the earth, I saw both of you. And we were all something different and extraordinary.
and if you're asking, on the runway of 'different and extraordinary,' i'm team petra.
things happen fast here, and again—i knoooow it's middle grade (and canada!), but i've grown out of the part of me that was able to gloss over the unrealistic, which here is not so much the monster plants and...other developments, but the crisis response and management—it is too efficient! this tiny island handles the unprecedented like champs and things are more okay than they ought to be, considering.
it was a fine-not-great read for me. it's basically a video game, with an ending that signifies a new level has begun, with more difficult challenges; donkey kong throwing barrels twice as fast or something.
someone please time machine me some donkey kong cereal.
in conclusion, i inquire BEST OR WORST TIME TO READ THIS BOOK?:
Petra knew from her dad that the little hospital was already overloaded. For most people, it was like having a really bad cold, or the flu. But some people had much more severe reactions—or life-threatening asthma attacks—and needed to be transferred to Victoria or Vancouver—where the hospitals were also packed.
AND ALSO
A few people hurried from their cars into the shops, sneezing, covering their faces. A lot of people wore masks—a very common sight since the pollen started flying. Petra had even seen a few people with those scary heavy-duty things with the canister filter. Like in pandemic movies.
oooh, goodreads choice awards finalist for best horror 2020! what will happen?
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fulfilling book riot's 2020 read harder coooh, goodreads choice awards finalist for best horror 2020! what will happen?
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fulfilling book riot's 2020 read harder challenge task #24: Read a book in any genre by a Native, First Nations, or Indigenous author
but more importantly, WELCOME TO SPOOKTOOOOBER!!
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this book opens big and strong and violent, but then it sort of shifts, taking a moment to readjust its focus, and in that time i started to have doubts about whether it was going to return to the early promise of those opening pages, but then WHOOOOOO BOY.
if this happens to you—this slackening of reader engagement because you're confused about or not really into where the story’s going, don't worry—it's a temporary dip and once it settles into its groove, it's rich and dark and relentless, kinda like It Follows but with elk.
the story will shift, and shift again, because of REASONS that are for me to know and for you to find out, but it was only that first shift that dislodged me; once i was invested, i stayed invested and every subsequent turn or diversion was earned and appreciated.
i’d heard so many good things about this book, but i was still unprepared for how much i would love it. it is astonishing; the atmosphere, the imagery, how real the characters feel. it’s a horror novel, but it’s so much more than its horror. it’s splattery, but it’s also smart.
there's a very thomas hardy-esque sensibility driving the narrative arc; the longtailed memory of promises made and not kept, the necessity of paying for long-ago sins—in this case a youthful indiscretion committed by four friends growing up on a blackfeet reservation; an act which violated both tribal law and custom, resulting in the kind of waste that nature abhors and will ultimately demand parity.
the repercussions of that event are a long time coming, but when they do, revenge is inevitable and merciless; the brutality of nature given supernatural determination. the experience of being haunted by one’s past is both literal and figurative here, manifesting in the physical and psychological dimensions; characters are haunted by guilt while being stalked by a past that remembers.
the bulk of the story follows lewis, who has long since moved away from the reservation and married a white woman. lewis feels the burden of his past strongly; troubled by guilt and regret as well as the existential dilemma of what it means to be blackfeet in the wider world; the clash between tradition and modernity, the expectations put on him by his own and other people.
it’s a tricky straddling of two worlds, and fate will rush into that space, filling the chasm between doubt and belief, fact and superstition. lewis catches eerie glimpses bridging the past and the present; prickly suspicions giving rise to a simmering paranoia before escalating sharply into deliciously horrific episodes.
but, hey, it’s also funny.
the humor is often self-deprecating or ironic, playing on stereotypes and cliches, but there are also plenty of sly reference points and genre subversions, and when gabe muses, “One little, two little, three little Natives . . . doesn’t really sound right, does it?”, you know he's invoking agatha christie's second, slightly less offensive, title of the book now known as And Then There Were None, with cheeky intent. and when he superimposes a ceiling fan with an animal in a living room, you can almost hear grace zabriskie screaming.
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it's brilliant work about identity and heritage and loss, setting up several mirrored oppositions and power dynamic reversals across nature and history, predator and prey, white man and indian, and all of the collective memory passages are sublime.
i tried to avoid learning too much about the specific plot points of this book before reading it, and i think that was a good move, so i'll say no more. but, damn. DAMN.
gutting perfection.
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i went into this half-blind but full-hearted—i fell hard for that cover at first sight, and i was anticipating its release for what seemed like ages. when it got covid-delayed, i was INCONSOLABLE, but then ended up sitting on it for a couple more months anyway, knowing it would be the perfect book to ring in spooktober. it did not disappoint.
one fine day, i received an electronic mail that began like so,
I saw that you've previously enjoyed reading Endurance by Alfred Lansing. Would you be one fine day, i received an electronic mail that began like so,
I saw that you've previously enjoyed reading Endurance by Alfred Lansing. Would you be interested in reading an upcoming book called Labyrinth of Ice: The Triumphant and Tragic Greely Polar Expedition by Buddy Levy?
it’s true i love me some exploration/survival stories, and the offer was sweetened further by promises of vicious wolves, insanity, and cannibalism. i mean, i was informed that those elements would be included in the book, but now that i think about it, that would have been a pretty impressive schwag bag.
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naturally, i responded with a big old YES PLEASE, and prepared myself for some tales of unfortunate decisions and hubris and nature saying ‘get off my lawn!’ to man’s best-laid plans. i didn’t know much about the details of the greely expedition*—i’m more of a shackleton guy, but MAN, his voyage on the endurance was a pleasure cruise compared to this.
if you want to know the basics of the story, wikipedia’ll spoil it for you just fine, but if you want to immerse yourself in all of the grim details, you really need to get your hands on a copy of this book. the scholarship here is a real achievement, and although the writing is a little dry at times, there’s no denying the horrors of man v nature when nature is this cold, this far from civilization, this lacking in edible resources or diversions. there are ample first-person accounts of their FOUR YEARS stuck out in the middle of nowhere, as well as accounts of the many failed rescue missions and supply dumps attempted on their behalf. also worth noting are the particularly strenuous efforts of greely’s wife, who took the news of his failed rescue like a boss:
Initially distraught, Henrietta was a woman of formidable constitution, and she quickly turned her emotions toward resolve and positive action.
you guys, the arctic is VAST.
and in 1881, a lot of it was still all mysterious and 'here be monsters.' not for the faint of heart, exploring the unknown. i don't have a cellphone, and this fact boggles the minds of folks, who are all the time saying to me, "but how do you find your way around?" my method is post-it notes, but those weren't invented until 1974, so greely and his men couldn't even scribble directions onto 'em, but i suppose they had bigger problems what with the being stranded and scurvy and whatnot.
the book delivers a perfect overview of what was happening both in the midst of the situation, and what was happening to resolve it, going back and forth between HORRIBLE ACTION and HORRIBLE RED TAPE. is so frustrating to read about these twenty-five men waiting and hoping for their expected provisions, attempting to escape from the ice that confronted them, while they were succumbing to illness, accident, and all the madness that comes with extreme boredom and starvation, meanwhile abe lincoln's kid was all toasty and warm, saying,"yeaaaaahhh, let's not waste money on this polar stuff anymore." it is as frustrating, i imagine, as being able to see something you're trying to get to but not being able to get to it because of great swathes of ice.
i’m horrible at visualizing spatial relations, with or without a map, and reading about some of these scenarios taxes my puny little brain. for example, i do not understand how cairns and caches work. those ‘take a penny leave a penny’ jars of polar exploration, where supplies, notes, and coordinates were left for whomever might happen upon them, but it all seems so precarious a system. it’s truly horrifying to depend on something when ice shifts, food decays, situations change, and the finding of a cache when you really need one seems like optimism at its most adorable foolishness.
also, hungry animals tear ‘em apart when they have parties!
…the cache had been ravaged by polar bears and foxes—there were tracks in the thin later of fresh snow. All the bread, sugar, and tobacco that had been there previously were gone, and the rum keg’s bung was bitten off and all the rum gone.
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i applaud the spirit of explorers—where would we be without their enterprising exploits? well, we probably wouldn’t know, because we’d have no maps! and these fellows who followed greely into the great unknown were extraordinary—even through all of their setbacks they still dragged themselves up every day, bundled themselves in their smelly gear and went out into the grueling conditions to fulfill their goals for science as well as survival; recording daily temperatures, wind speeds, barometric pressure, and trying to maybe catch a walrus or fox to eat.
they weren’t all paragons of virtue—there were some selfish food-stealers hoarding their own emergency caches, some fuel alcohol misappropriated for purposes other than fuel, some side-eying and light mutiny, and at least one attempt at unwanted intimacy. but for the most part, greely handled his responsibilities with aplomb, adjusting his leadership approach to be more democratically flexible, keeping the men's spirits up, and although he left that region with far fewer men than he’d started with, his management of the situation was admirable.
One of these peaks, Mount Arthur, Greely summited alone. The climb was so difficult that Greely had to send Sergeant Linn back, too exhausted to continue. There was soft deep snow on the ascent, and for the last nine hundred feet Greely was reduced to crawling on his hands and knees, his boots soaked and feet freezing. To force himself to keep going, he would throw his eyeglasses five or six feet ahead up the mountain, so he would have to ascend to retrieve them.
this is the kind of man you want in charge—no delegation here.
there were not as many wolves as i'd hoped for, which is probably for the best, because some of those wolves were killed when they were just trying to see if people tasted good. as for the sled dogs, well, dogs never fare very well on polar expeditions. this book has one VERY SAD dog moment which shines a light on the species' loyal-to-a-fault attitude and please don't take dogs on boats ever, period.
also, it needs to be said that the cannibalism was not a part of the actual narrative. it was suspected, and suggested after the fact, and while it was very likely, it was ultimately unconfirmed.
the most useful lesson i learned re: polar rescue—when in doubt, blow shit up.
read this book, but make sure you have plenty of snacks nearby. you never know what can happen.
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* more precisely and cumbersomely known as The Lady Franklin Bay Expedition
and as for the pacing, the authorial decisions here make no sense. i’ve already mentioned how rushed everything waREVIEW PART 2, CONTINUED FROM HERE!!
and as for the pacing, the authorial decisions here make no sense. i’ve already mentioned how rushed everything was in the first twenty pages, and that’s true for most of the book, but then there are passages like this that boggle the mind with their unnecessarily granular details.
are you ready for this action sequence that tales place at the post office?
I locked our box and carried the deck of mail across the stale, refrigerated room and spread it out on the counter under the warning: IT IS A FEDERAL OFFENSE TO ASSAULT A POSTAL EMPLOYEE. There was a copy of House & Garden with the cover torn halfway off. There was an appeal from the Environmental Defense Fund. There was a flier from Grant City at Bridgehampton. There was a bill from the Amagansett Lumber Co. There was a catalogue from L.L. Bean. There was a letter from my brother in St. Louis. And there was a big green and gray Modern Science World envelope. That was what I wanted.
good lord, the PADDING!!
and this little bit—were there no editors in 1974?
Amy raised her head. “I just thought of something,” she said. “I know somebody who might have some ideas—somebody who maybe could help.”
“Who?”
“Dr. Tucker,” she said. “You know, the vet. Maybe you could talk to him.”
“I wonder.”
“I thought he was very sympathetic,” she said. “I liked him very much.”
“So did I.”
“Why don’t you call him.”
“I liked the way he talked,” I said. “I think he knew—I think he suspected something. I think maybe you’re right. At least he might listen.”
“I think you ought to call him.”
“I don’t suppose he would be free this afternoon,” I said, “But maybe we could make a date. Maybe for tonight.”
“Jack,” she said. “I want you to call him—right now.”
“Well,” I said.
BUT WAIT, THERE’S MORE! OR LESS, I’M NOT SURE.
I opened the telephone directory on the counter in the pantry. It contained three listings for Dr. Tucker. One was Albert C. Tucker DVM res. The second was Albert C. Tucker DVM ofc. The third was Tucker Animal Hopsital. I dialed the hospital number. It was the same as the ofc listing. The number rang, and I waited. It rang and rang. I began to count the rings.
that is a lot of needless description about making a phone call. by contrast, a woman who dies of cat-related septicemia gets only this:
She stood in the doorway, catching her breath.
“What?” I said. “What’s wrong?”
“Oh, Jack!” She shook her head from side to side. “The most awful thing. I just saw Linda. I ran into her at the store. And Naomi died last night. She’s dead!”
and the chapter ends and then on the next page they are at a cocktail party where something else that no one cares about takes up a chunk of the page:
The bar was a harvest table at the end of the living room, and there was a crazy-looking picture framed in silver on the wall behind it. I found a useful bottle among the empties and poured myself another drink and looked up at the picture. But it wasn’t exactly a picture. It was a coat of arms—the coat of arms of a family named Prather. I thought for a minute, and remembered that Prather was Dorothy Winter’s maiden name. So that cleared that up.
SO THAT CLEARED THAT UP!
the on-page horror is slim. there are many cats. they roam the grounds. they kill the animals. the way cats do. maybe slightly more aggressively in this "many cats/limited resources” situation.
they kill people, but mostly anecdotally—the stray cat biting poor departed naomi, dooming her to septicemia, some children are attacked and succumb to their injuries, etc. there is only one on-page human-killing, and yeah, it’s rad, but all of the human casualties, and many of the animal ones, are delivered offscreen—our hero hears screaming and rushes to see a man with his face torn up by something that was maybe a cat but even the victim is unsure, rabbits and a baby deer are found torn up and eaten by something that maybe could have been a cat, but who even can say, and (view spoiler)[their dog gets attacked a second time and dies, but unlike the 'mail i have received' sequence, it is so spare with the details, it was not immediately clear whether the animal they found was sam, or if the animal was a corpse or only injured. (hide spoiler)] those details are inconsequential, i suppose. and obviously, duhhh, it is the cats doing all of the things, but it's all just hints and whispers of stuff happening elsewhere while instead, we get to know quite intimately the contents of a man's mailbox.
now, as for cat-on-cat violence, and the trigger-happy retaliation for these cats going to extreme measures to stay alive—there's a lot of that on-page. many cats getting gunned down. many furry corpses. many cats falling on the bodies of their fallen brethren and eating them. which is a solemn death ritual in some human cultures, so let’s not judge these cats for their grieving rites. be a little more woke, yeah?
i'm on the side of the cats here, who are the clear victims of this story. you abandon a hunter, it's gonna hunt. you shoot cats who are just out roaming your property, maybe looking for food that isn't you, you deserve whatever pushback you get. you feed strays and you get bit and diseased, that's on you. the people in this book were very dumb. the man is an editor for a science publication and he refers to these cats as "prototype tigers," proving he has no clue about evolution and should be in a different line of work, and *karen's hot take* deserves to be outsmarted by cats.
i'm running out of reviewing-steam, and i've already dragged this on way longer than i ought to have, but i do want to share the blurbs, because the praise for this book is bewildering!
"Pure horror fiction at its nightmarish best!"
-Washington Post
"This one could scare the daylights out of you."
-San Francisco Examiner
"A brilliant little horror"
-Los Angeles Times
"The most frightening takeover since The Day of the Triffids"
-Kirkus Reviews
"Action-packed suspense"
-The New York Times
"A chilling novel...reminiscent of the great classic fantasy, The Birds"
-Portland Oregonian
"A shocker...hair-raising"
-Bestsellers
"A climax that is bloody , shocking; as terrifying as...The Birds"
-Publishers Weekly
"Mounts inexorably to a horrifying climax"
-Pittsburgh Press
"A feline Jaws...Roueché develops it with his impeccable timing and step-by-step respect for suspense."
-The New York Times Book Review
"The story builds to a screeching climax of horror."
-Minneapolis Tribune
"A humdinger of a scare story"
-Los Angeles Times
so scary!!
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although i disagree with alla that, i will continue to explore pulpy-bad cat-horror; i'm still itching to track down nick sharman’s The Cats in my desired cover: