bloodygranuaile: (carmilla)
 I borrowed N. K. Jemisin's The Obelisk Gate from Andrea after we read The Fifth Season, and vowed I'd finish it before The Stone Sky comes out this summer. And for once in my life, lo and behold, I did.
 
The Obelisk Gate continues the story of the orogene Essun, formerly Syenite, formerly Damaya, as a devastating Season wreaks havoc on the Stillness's civilizations. Essun is temporarily staying in a community house in a giant underground geode, where she has temporarily had to suspend her search for her daughter Nassun, who is traveling southward with her orogene-phobic father, in order to continue being trained by her former mentor Alabaster, the guy who started this apocalypse. Alabaster is slowly turning into stone and being eaten by his companion, a Stone Eater named Antimony. Before he's entirely gone, he needs to teach Essun to control the giant obelisks that float around in the sky, so that she can open the Obelisk Gate and catch the moon. According to the myth told at the end of the last book, returning the Moon to its proper orbit will stop the tectonic shenanigans that characterize life on the Stillness.
 
Most of the story is still in the second person, narrated by the "young" Stone Eater Hoa and addressed to Essun. Interspersed are chapters in the third person about Nassun's journey south with her father Jija, who had killed her little brother upon finding out he was an orogene. Nassun learns to manipulate her father into mostly only psychologically rather than physically abusing her, as he brings her to a sort of training camp for young orogenes run by rogue Guardians, near the continent's antarctic. The lead Guardian that takes Nassun under his wing is Schaffa, who was also Essun's Guardian. Jija thinks it's a camp where young orogenes go to be "cured," because sending your children to camps because you're a bigot is a sadly not unheard-of occurrence with humans.
 
In this book we learn more about the world and its history and how orogeny works (which turns out to be not quite how the Fulcrum thinks it does), including the great mystery of what's on the other side of the planet from the Stillness. We also explore a lot about power and danger and fear and morality and responsibility, and about if it is ever OK to hurt people, especially when there's no way to avoid hurting people, and about bigotry and family and love. So it's deep. But it's also exciting and weird and terrifying and sometimes hilarious. Even the terrible characters are sympathetic but not in a saccharine way, and the good characters are abrasive and dangerous and kind of creepy.
 
I hope in the next one, Essun and Nassun catch the fucking moon and live happily ever after, but I'm sure Jemisin's got something unpredictable in store for us.
bloodygranuaile: (wall wander)
 Max Gladstone's Craft Sequence is too good.
 
Two Readercons ago I got a lovely signed first edition of the fourth book in the series, Last First Snow, after hearing Max talk about getting chased by bees in China (I don't remember what the panel was about, but I went to a panel about bees the following Readercon just to hear him tell it again). I read it in the cabin on the lake in Maine, which is the best place to read anything, and so I always prioritize bringing the books I'm most excited about there.
 
Last First Snow takes place in Dresediel Lex, the creepy mashup of Tenochtitlan and Las Vegas, several years before the events of Two Serpents Rise. The protagonist is the priest Temoc, who as a viewpoint character comes off a little bit more like a functional human and less like Drax from Guardians of the Galaxy than he does in 2SR.
 
The plot of this book hinges on fire insurance, which I suppose is what I get for trying to write a fantasy book where the plot hinges on fire insurance and never finishing it, and now if I do finish it it will be both derivative and nowhere near as good at this one. This book is about gentrification and protest and conspiracy and all that other horrendous neoliberal capitalist crap, and as someone who lives in a rapidly gentrifying city (VERY RAPIDLY) (coincidentally, Max Gladstone lives here too!), I can see echoes of local housing battles and Occupy encampments in the movement to save the Skittersill from developers.
 
Because this is the Craft Sequence, the Skittersill, a slum district in Dresediel Lex, isn't a slum district for any of the normal reasons, like having been cut off by deliberately shitty bridges. Instead, it's under some sort of magical ward that designated the area as a "divine protectorate," which basically seems to be a sort of giant community land trust that keeps it safe and affordable but doesn't provide anyone the resources or authority to stop it from falling apart--land can't be bought or sold, and the gods that protect it are dead. The wards are also decaying, also because the gods are dead, and developers smell an opportunity. One developer, a Skittersill native who made good, got out, and has turned into a real estate bro, hires Elayne Kevarian of the necromantic law firm Kelethres, Albrech, and Ao (Tara Abernathy's future boss, and also just an all-around boss) to help him figure out a land deal that will be acceptable to the city's judges. But the city's judges won't accept any land deal that's not acceptable to the giant protest movement that's sprung up in Chakal Square.
 
This book also features everyone's favorite emotionally immature coffee-drinking skeleton, the King in Red, who despite being a terrifyingly powerful magical skeleton is also every douchebag executive who can't be reasoned with and goes nuclear whenever anyone challenges his authori-tah, making him easily manipulable. There's also several appearances by baby Caleb, who I honestly like better as a small child than I ever did as an adult. You can see why he turned into the sort of adult he did, though.
 
The first half of the book is about negotiations and stuff within a tense but peaceful protest movement, and it all seems to be going relatively well! There are a few insurrectionary-minded assholes on both sides that seem to really want things to get violent, most notably some arsehole known only as The Major on the side of the protestors, but they get talked down every time they go about vomiting their revolutionary vanguardism all over people whose goal is to not have their houses destroyed. A sabotage-via-food-poisoning plot is foiled. But eventually, all this success makes for anticlimactic fiction, so eventually one of the sabotage conspiracies works. An act of violence destroys the entire equilibrium and instantly turns the protest movement into urban warfare. Elayne and Temoc are now in the unenviable position of having to win the battle, protect the citizens of the Skittersill, talk down a bloodthirsty King in Red, and uncover the conspiracy to figure out who Bloody Sundayed the negotiations and why.
 
Final takeaways: Real estate developers are slimeballs, community solidarity is powerful, maintaining nonviolent discipline in a mass movement is harder than besuited TV pundits think it is, and late-stage capitalism is an unnecessarily complicated trashfire of a system so you should be thankful it doesn't literally involve magic. Also, support your local fantasy authors.

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