Sep. 12th, 2017

mrissa: (Default)

Originally published at Novel Gazing Redux. You can comment here or there.

Review copy provided by First Second Books.

When a person who mainly reads prose expands into reviewing graphic novels meant for children, suddenly the form factor of the book starts mattering a great deal more than it ever did before. This book is a large, slender hardbound, the sort of book I don’t see regularly outside picture books. Its production values are glossy and very high–but it’s not a picture book, it’s a watercolor graphic novel translated from the French.

The paintings are lovely. The layout is sometimes quite busy for my eye, having extra rows and columns of illustration compared to a “standard” size of graphic novel.

Seraphin’s mother is an explorer of the aether, a scientist in her hot air balloon. When she disappears on a dangerous flight, Seraphin and his father try to balance their own explorations with a desire to keep each other safe–and to find out what happened to her. They wind up in Bavaria, at the court of King Ludwig, whose swan-shaped aether-ship is promisingly bizarre.

The “book one” in the title is not merely an indication that this is a series: the story is not complete in this volume. What adventures will our young etc. and his daring friends etc. etc. I think comics readers are pretty used to that sort of thing, and there is plenty of adventure, excitement, swashing, and buckling. It’s a fairly old-fashioned sort of adventure–maximum of one girl character at a time, apparently, and the gratuitous startled-in-the-bath scene–but airships and 19th century science jokes do have their charm; I would definitely read further to see how this comes out.

Please consider using our link to buy Castle in the Stars Book One: The Space Race of 1869 from Amazon.

mrissa: (Default)

Originally published at Novel Gazing Redux. You can comment here or there.

Review copy provided by Tor Books.

The cover describes this as, “The first anthology of science fiction to have emerged from Iraq,” but “emerged” seems insufficient to describe the work the editors did to make this project happen. Without an established science fiction community, editors definitely can’t just call for submissions and put their feet up. From what’s in the introduction, Hassan Blasim, with the help of Ra Page, approached writers from many regions of Iraq, generations, and writing styles, coaxing and cajoling them to approach the idea of Iraq a hundred years after invasion, doing with it whatever they saw fit. That’s not just emergence. That’s beyond even encouragement.

My favorite part of the stories themselves is the focus on Iraq as a future setting: this square or that city taking pride of place, this saying or that legend being the focus. I love fiction in translation for that reason: for the shift in perspective. I want more of it. And in order to get more of it, I’m willing to deal with stories that are not what I would ordinarily like best: stories with more sexual threat, stories that retread similar ground to previous work in other languages/cultures, stories that don’t seem to be able to find any thread of hope in the entire world. Which is not this entire volume, but it is some of this volume. If what I really want is works in translation from all over the world–and it is–I need to let the people actually from those places tell me what stories they want to tell, not tell them that their stories don’t fit my preconceptions of what they should want to tell. So while in some ways this was a bumpy reading experience for me, with some delights and some difficulties, I’m very glad to have the opportunity for the bumps.

Please consider using our link to buy Iraq+100 from Amazon.

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