el_staplador: (Default)
[personal profile] el_staplador
I'd never heard of this book before a kind BookCrosser sent it to me, though the cover tells me that it won a Lambda Literary Award.

Anyway, it's a lot of fun. Rainbow Rosenbloom is a lesbian, a London taxi driver, and a non-observant Jew. She's also the great-great-great-great-great-great-granddaughter of a woman who jilted her lover two centuries back. Kokos is a dybbuk who's been contracted to possess the female descendants of that woman - although, having been stuck in a tree for the past two centuries, Rainbow is the first one she's got to. Hilarity, as they say, ensues.

I enjoyed the glimpses of lesbian London (with the exception of the biphobia), and Jewish London, and the intersection of the two, in the early 90s. Beyond that, it reminded me of nothing so much as Good Omens in its portrayal of a supernatural bureaucracy which is all too reminiscent of the earthly sort. Kokos is an engaging if unreliable narrator, and the ending has a satisfying twist (though the direction the plot takes to get there feels a bit forced and melodramatic).

Good fun, though with a hefty dose of fridge horror.
sholio: sun on winter trees (Default)
[personal profile] sholio
I read this because of a rec in this comm last week, and I really enjoyed it! If you'd like to read another review of it, mine is posted here on DW and also at my Mar Delaney blog.
mllelaurel: (Default)
[personal profile] mllelaurel
Ellen Klages' Passing Strange is a love story, a romance between Emily, a runaway daughter of a blue-blood New England family, and Haskel, a brilliant artist who makes her living drawing lurid covers for the pulps. But it is also a love song to the city of San Francisco in the 1940s, vibrant in its descriptions of lesbian bars, Chinatown cocktail lounges, and the World Fair.

Klages' writing is superb. She pulls a few tricks I normally dislike, such as mid-scene point of views switches, but the style is so well-done it does not impact my enjoyment or the three-dimensionality of the characters. The romance goes quickly (this is a novella,) but it's both affecting and believable.

There are elements of magic, well-foreshadowed, but out of focus enough I'd label this book more magical realism than fantasy, and the final use of the magical elements leads to a satisfying ending just as I was bracing myself for something a lot more depressing.

Highly recommended.
mllelaurel: (Default)
[personal profile] mllelaurel
The Nomeolvides women carry the power to make plants grow - whether they like it or not - and a curse which makes those they fall in love with disappear. When the current generation of Nomeolvides girls realize they are all falling for Bay Briar, a dapper, black-sheep scion of the family that owns La Pradera, the land which they garden, they realize they have to do something before Bay disappears too. By way of answer, La Pradera gives them Fel, a boy who doesn't remember his past, and who might have disappeared generations ago.

The writing is lush, almost fairy tale-like. However, there's a tendency to belabor already touched-on emotional points, which left me frustrated and disconnected. Some of the reveals fall flat, and one of the most significant reveals makes all the characters who had not figured it out up to that point look like idiots.

As for the characters, it's been a bit since I've read this book, so my memory's faded, and I can't help comparing it to Labyrinth Lost, which also featured a sprawling extended family of Latinas. To me, at least, the family in Labyrinth Lost was much more vividly rendered and believable. The characters in Wild Beauty are still good, they're still likable. They're just not as real. Fortunately, Bay is one of the better efforts, sharp and likable as a romantic interest. She does eventually come to return one of the cousins' feelings for her, though it's not Estrella's (the POV character.) Estrella's own romance is also likable, though it's with a boy and thus outside the purview of this comm.

On a side note, I had a hunch as I read that Bay might be better described as genderqueer rather than female, and my hunch was borne out by author's notes, but she does go by she/her pronouns, and I figure more genderqueer representation can't hurt.

To sum up: this book is pretty good on both sexuality and gender representation, but occasionally frustrating when it comes to its own narrative.

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