This post is a review for Computing Reviews for The comedy of computation, or, how I learned to stop worrying and love obsolescence , a book published in Stanford University Press

The Comedy of Computation is not an easy book to review. It is a much enjoyable book that analyzes several examples of how being computational has been approached across literary genres in the last century how authors of stories, novels, theatrical plays and movies, focusing on comedic genres, have understood the role of the computer in defining human relations, reactions and even self-image. Mangrum structures his work in six thematic chapters, where he presents different angles on human society: How have racial stereotypes advanced in human imagination and perception about a future where we interact with mechanical or computational partners (from mechanical tools performing jobs that were identified with racial profiles to intelligent robots that threaten to control society); the genericity of computers and people can be seen as generic, interchangeable characters, often fueled by the tendency people exhibit to confer anthropomorphic qualities to inanimate objects; people s desire to be seen as truly authentic , regardless of what it ultimately means; romantic involvement and romance-led stories (with the computer seen as a facilitator for human-to-human romances, distractor away from them, or being itself a part of the couple); and the absurdity in antropomorphization, in comparing fundamentally different aspects such as intelligence and speed at solving mathematical operations, as well as the absurdity presented blatantly as such by several techno-utopian visions. But presenting this as a linear set of concepts that are presented does not do justice to the book. Throughout the sections of each chapter, a different work serves as the axis Novels and stories, Hollywood movies, Broadway plays, some covers for the Time magazine, a couple of presenting the would-be future, even a romantic comedy entirely written by bots . And for each of them, Benjamin Mangrum presents a very thorough analysis, drawing relations and comparing with contemporary works, but also with Shakespeare, classical Greek myths, and a very long etc tera. This book is hard to review because of the depth of work the author did: Reading it repeatedly made me look for other works, or at least longer references for them. Still, despite being a work with such erudition, Mangrum s text is easy and pleasant to read, without feeling heavy or written in an overly academic style. I very much enjoyed reading this book. It is certainly not a technical book about computers and society in any way; it is an exploration of human creativity and our understanding of the aspects the author has found as central to understanding the impact of computing on humankind. However, there is one point I must mention before closing: I believe the editorial decision to present the work as a running text, with all the material conceptualized as footnotes presented as a separate, over 50 page long final chapter, detracts from the final result. Personally, I enjoy reading the footnotes because they reveal the author s thought processes, even if they stray from the central line of thought. Even more, given my review copy was a PDF, I could not even keep said chapter open with one finger, bouncing back and forth. For all purposes, I missed out on the notes; now that I finished reading and stumbled upon that chapter, I know I missed an important part of the enjoyment.

23 years ago I was in a bad place. I'd quit my first attempt at a PhD for various reasons that were, with hindsight, bad, and I was suddenly entirely aimless. I lucked into picking up a sysadmin role back at TCM where I'd spent a summer a year before, but that's not really what I wanted in my life. And then Hanna mentioned that her PhD supervisor was looking for someone familiar with Linux to work on making Dasher, one of the group's research projects, more usable on Linux. I jumped.

The timing was fortuitous. Sun were pumping money and developer effort into accessibility support, and the Inference Group had just received a grant from the Gatsy Foundation that involved working with the ACE Centre to provide additional accessibility support. And I was suddenly hacking on code that was largely ignored by most developers, supporting use cases that were irrelevant to most developers. Being in a relatively green field space sounds refreshing, until you realise that you're catering to actual humans who are potentially going to rely on your software to be able to communicate. That's somewhat focusing.

This was, uh, something of an on the job learning experience. I had to catch up with a lot of new technologies very quickly, but that wasn't the hard bit - what was difficult was realising I had to cater to people who were dealing with use cases that I had no experience of whatsoever. Dasher was extended to allow text entry into applications without needing to cut and paste. We added support for introspection of the current applications UI so menus could be exposed via the Dasher interface, allowing people to fly through menu hierarchies and pop open file dialogs. Text-to-speech was incorporated so people could rapidly enter sentences and have them spoke out loud.

But what sticks with me isn't the tech, or even the opportunities it gave me to meet other people working on the Linux desktop and forge friendships that still exist. It was the cases where I had the opportunity to work with people who could use Dasher as a tool to increase their ability to communicate with the outside world, whose lives were transformed for the better because of what we'd produced. Watching someone use your code and realising that you could write a three line patch that had a significant impact on the speed they could talk to other people is an incomparable experience. It's been decades and in many ways that was the most impact I've ever had as a developer.

I left after a year to work on fruitflies and get my PhD, and my career since then hasn't involved a lot of accessibility work. But it's stuck with me - every improvement in that space is something that has a direct impact on the quality of life of more people than you expect, but is also something that goes almost unrecognised. The people working on accessibility are heroes. They're making all the technology everyone else produces available to people who would otherwise be blocked from it. They deserve recognition, and they deserve a lot more support than they have.

But when we deal with technology, we deal with transitions. A lot of the Linux accessibility support depended on X11 behaviour that is now widely regarded as a set of misfeatures. It's not actually good to be able to inject arbitrary input into an arbitrary window, and it's not good to be able to arbitrarily scrape out its contents. X11 never had a model to permit this for accessibility tooling while blocking it for other code. Wayland does, but suffers from the surrounding infrastructure not being well developed yet. We're seeing that happen now, though - Gnome has been performing a great deal of work in this respect, and KDE is picking that up as well. There isn't a full correspondence between X11-based Linux accessibility support and Wayland, but for many users the Wayland accessibility infrastructure is already better than with X11.

That's going to continue improving, and it'll improve faster with broader support. We've somehow ended up with the bizarre politicisation of Wayland as being some sort of woke thing while X11 represents the Roman Empire or some such bullshit, but the reality is that there is no story for improving accessibility support under X11 and sticking to X11 is going to end up reducing the accessibility of a platform.

When you read anything about Linux accessibility, ask yourself whether you're reading something written by either a user of the accessibility features, or a developer of them. If they're neither, ask yourself why they actually care and what they're doing to make the future better.

comments

I have been a very happy user of my two SK-8845 keyboards (one at my office, one at home) since I bought them, in 2018 and 2021 respectively. What are they, mind you? ) The beautiful keyboard every Thinkpad owner knows and loves. And although I no longer use my X230 laptop that was my workhorse for several years, my fingers are spoiled. So, both shift keys of my home keyboard have been getting flaky, and I am basically sure it s a failure in the controller, as it does not feel to be physical. It s time to revisit that seven year old post where I found the SK-8845. This time, I decided to try my luck with something different. As a Emacs user, everybody knows we ought to be happy with more and more keys. In fact, I suppose many international people are now familiar with El Eternauta, true? we Emacs users would be the natural ambassadors to deal with the hand species: So it kind-of sort-of made sense, when I saw a Toshiba-IBM keyboard being sold for quite cheap (MX$400, just over US$20) to try my luck with it: This is quite an odd piece of hardware, built in 2013 according to its label. At first I was unsure whether to buy it because of the weird interface it had, but the vendor replied they would ship a (very long!) USB cable with it, so As expected, connecting it to Linux led to a swift, errorless recognition: Within minutes of receiving the hardware, I had it hooked up and started looking at the events it generated However the romance soon started to wane. Some of the reasons:

• We cannot forget it is a Piece of Shit Point Of Sale keyboard. It is not intended to be a creative interface. So, the keys are ~75% the size of regular keys. My fingers have a hard time getting used to it, I keep hitting wrong keys. I know I am holding it wrong and my muscle memory can be retrained (and I was very happy when I had the tiny 9 Acer Aspire One) but still, it is not pleasant.
• I exclusively use keyboards with a trackpad (as those found in most laptops) because I found that constantly moving my hand to the mouse and back produced me back ache. Within an hour of typing in this keyboard, the old back ache I was happy not to ever have again came back to me.
• The pointer device has a left and a right button, but neither middle nor scroll buttons. I could generate middle clicks by setting middle emulation enabled, but the buttons are separated it requires clicking with both thumbs, which is unelegant, to say the least. I remapped some of the spare keys to be mouse buttons 1 5, and it worked for middle click, but not for scroll events. Maybe I could tweak it a bit more but I didn t in the end.

Anyway I m returning it I found an SK-8845 for sale in China for just MX$1814 (~US$90), and jumped for it They are getting scarce! Nowadays it s getting more common (and cheaper) to find the newer style Thinkpad keyboards, but without a trackpad I don t think I should stockpile on keyboards, but no, I m not doing that Anyway, so I m sticking to a Thinkpad keyboard, third in a row.

Toolboxes and Hammers Be YouEveryone has a story. We all started from somewhere, and we re all going somewhere.Ten years ago this summer, I first heard of Ubuntu. It took me time to learn how to properly pronounce the word, although I m glad I learned that early on. I was less fortunate when it came to the pronunciation of the acronym for the Ubuntu Code of Conduct. I had spent time and time again breaking my computer, and I d wanted to start fresh.I ve actually talked about this in an interview before, which you can find here (skip to 5:02 6:12 for my short explanation, I m in orange):https://medium.com/media/ad59becdbd06d230b875fb1512df1921/hrefI ve also done a few interviews over the years, here are some of the more recent ones:https://medium.com/media/83bda448d5f2a979f848e17f04376aa6/hrefAsk Noah Show 377Lastly, I did a few talks at SCaLE 21x (which the Ubuntu community donation funds helped me attend, thank you for that!):https://medium.com/media/0fbde7ef0ed83c2272a8653a5ea38b67/hrefhttps://medium.com/media/4d18f1770dc7eed6c7a9d711ff6a6e89/hrefMy story is fairly simple to summarize, if you don t have the time to go through all the clips.I started in the Ubuntu project at 13 years old, as a middle school student living in Green Bay, WI. I m now 23 years old, still living in Green Bay, but I became an Ubuntu Core Developer, Lubuntu s Release Manager, and worked up to a very great and comfortable spot.So, Simon, what advice would you give to someone at 13 who wants to do the same thing? Here are a few tips * Don t be afraid to be yourself. If you put on a mask, it hinders your growth, and you ll end up paying for it later anyway.
* Find a mentor. Someone who is okay working with someone your age, and ideally someone who works well with people your age (quick shoutout to Aaron Prisk and Walter Lapchynski for always being awesome to me and other folks starting out at high school.) This is probably the most important part.
* Ask questions. Tons of them. Ask questions until you re blue in the face. Ask questions until you get a headache so bad that your weekend needs to come early. Okay, maybe don t go that far, but at the very least, always stay curious.
* Own up to your mistakes. Even the most experienced people you know have made tons of mistakes. It s not about the mistake itself, it s about how you handle it and grow as a person.Now, after ten years, I ve seen many people come and go in Ubuntu. I was around for the transition from upstart to systemd. I was around for the transition from Unity to GNOME. I watched Kubuntu as a flavor recover from the arguments only a few years before I first started, only to jump in and help years later when the project started to trend downwards again.I have deep love, respect, and admiration for Ubuntu and its community. I also have deep love, respect, and admiration for Canonical as a company. It s all valuable work. That being said, I need to recognize where my own limits are, and it s not what you d think. This isn t some big burnout rant.Some of you may have heard rumors about an argument between me and the Ubuntu Community Council. I refuse to go into the private details of that, but what I ll tell you is this in retrospect, it was in good faith. The entire thing, from both my end and theirs, was to try to either help me as a person, or the entire community. If you think any part of this was bad faith from either side, you re fooling yourself. Plus, tons of great work and stories actually came out of this.The Ubuntu Community Council really does care. And so does Mark Shuttleworth.Now, I won t go into many specifics. If you want specifics, I d direct you to the Ubuntu Community Council who would be more than happy to answer any questions (actually they d probably stay silent. Nevermind.) That being said, I can t really talk about any of this without mentioning how great Mark has become.Remember, I was around for a few different major changes within the project. I ve heard and seen stories about Mark that actually match what Reddit says about him. But in 2025, out of the bottom of my heart, I m here to tell you that you re all wrong now.See, Mark didn t just side with somebody and be done with it. He actually listened, and I could tell, he cares very very deeply. I really enjoyed reading ogra s recent blog post, you should seriously check it out. Of course, I m only 23 years old, but I have to say, my experiences with Mark match that too.Now, as for what happens from here. I m taking a year off from Ubuntu. I talked this over with a wide variety of people, and I think it s the right decision. People who know me personally know that I m not one to make a major decision like this without a very good reason to. Well, I d like to share my reasons with you, because I think they d help.People who contribute time to open source find it to be very rewarding. Sometimes so rewarding, in fact, that no matter how many economics and finance books they read, they still haven t figured out how to balance that with a job that pays money. I m sure everyone deeply involved in this space has had the urge to quit their job at least once or twice to pursue their passions.Here s the other element too I ve had a handful of romantic relationships before, and they ve never really panned out. I found the woman that I truly believe I m going to marry. Is it going to be a rough road ahead of us? Absolutely, and to be totally honest, there is still a (small, at this point) chance it doesn t work out.That being said I remain optimistic. I m not taking a year off because I m in some kind of trouble. I haven t burned any bridge here except for one.You know who you are. You need help. I d be happy to reconnect with you once you realize that it s not okay to do what you did. An apology letter is all I want. I don t want Mutually Assured Destruction, I don t want to sit and battle on this for years on end. Seriously dude, just back off. Please.I hate having to take out the large hammer. But sometimes, you just have to do it. I ve quite enjoyed Louis Rossmann s (very not-safe-for-work) videos on BwE.https://medium.com/media/ab64411c41e65317f271058f56bb2aba/hrefI genuinely enjoy being nice to people. I want to see everyone be successful and happy, in that order (but with both being very important). I m not perfect, I m a 23-year-old who just happened to stumble into this space at the right time.To this specific person only, I tell you, please, let me go take my year off in peace. I don t wish you harm, and I won t make anything public, including your name, if you just back off.Whew. Okay. Time to be happy again.Again, I want to see people succeed. That goes for anyone in Ubuntu, Lubuntu, Kubuntu, Canonical, you name it. I m going to remain detached from Ubuntu for at least a year. If circumstances change, or if I feel the timing just isn t right, I ll wait longer. My point is, I ll be back, the when of it will just never be public before it happens.In the meantime, you re welcome to reach out to me. It ll take me some time to bootstrap things, more than I originally thought, but I m hoping it ll be quick. After all, I ve had practice.I m also going to continue writing. About what? I don t know yet.But, I ll just keep writing. I want to share all of the useful tips I ve learned over the years. If you actually liked this post, or if you ve enjoyed my work in the Ubuntu project, please do subscribe to my personal blog, which will be here on Medium (unless someone can give me an open source alternative with a funding model). This being said, while I d absolutely take any donations people would like to provide, at the end of the day, I don t do this for the money. I do this for the people just like me, out of love.So you, just like me, can make your dreams happen.Don t give up, it ll come. Just be patient with yourself.As for me, I have business to attend to. What business is that, exactly? Read Walden, and you ll find out.I wish you all well, even the person I called out. I sincerely hope you find what you re looking for in life. It takes time. Sometimes you have to listen to some music to pass the time, so I created a conceptual mixtape if you want to listen to some of the same music as me.I ll do another blog post soon, don t worry.Be well. Much, much more to come.

Review: Beyond Pain, by Kit Rocha

Series:	Beyond #3
Publisher:	Kit Rocha
Copyright:	December 2013
ASIN:	B00GIA4GN8
Format:	Kindle
Pages:	328

Beyond Pain is a science fiction dystopian erotic romance novel and a direct sequel to Beyond Control. Following the romance series convention, each book features new protagonists who were supporting characters in the previous book. You could probably start here if you wanted, but there are significant spoilers here for earlier books in the series. I read this book as part of the Beyond Series Bundle (Books 1-3), which is what the sidebar information is for. Six has had a brutally hard life. She was rescued from an awful situation in a previous book and is now lurking around the edges of the Sector Four gang, oddly fascinated (as are we all) with their constant sexuality and trying to decide if she wants to, and can, be part of their world. Bren is one of the few people she lets get close: a huge bruiser who likes cage fights and pain but treats Six with a protective, careful respect that she finds comforting. This book is the story of Six and Bren getting to the bottom of each other's psychological hangups while the O'Kanes start taking over Six's former sector. Yes, as threatened, I read another entry in the dystopian erotica series because I keep wondering how these people will fuck their way into a revolution. This is not happening very quickly, but it seems obvious that is the direction the series is going. It's been a while since I've reviewed one of these, so here's another variation of the massive disclaimer: I think erotica is harder to review than any other genre because what people like is so intensely personal and individual. This is not even an attempt at an erotica review. I'm both wholly unqualified and also less interested in that part of the book, which should lead you to question my reading choices since that's a good half of the book. Rather, I'm reading these somewhat for the plot and mostly for the vibes. This is not the most competent collection of individuals, and to the extent that they are, it's mostly because the men (who are, as a rule, charismatic but rather dim) are willing to listen to the women. What they are good at is communication, or rather, they're good about banging their heads (and other parts) against communication barriers until they figure out a way around them. Part of this is an obsession with consent that goes quite a bit deeper than the normal simplistic treatment. When you spend this much time trying to understand what other people want, you have to spend a lot of time communicating about sex, and in these books that means spending a lot of time communicating about everything else as well. They are also obsessively loyal and understand the merits of both collective action and in making space for people to do the things that they are the best at, while still insisting that people contribute when they can. On the surface, the O'Kanes are a dictatorship, but they're run more like a high-functioning collaboration. Dallas leads because Dallas is good at playing the role of leader (and listening to Lex), which is refreshingly contrary to how things work in the real world right now. I want to be clear that not only is this erotica, this is not the sort of erotica where there's a stand-alone plot that is periodically interrupted by vaguely-motivated sex scenes that you can skim past. These people use sex to communicate, and therefore most of the important exchanges in the book are in the middle of a sex scene. This is going to make this novel, and this series, very much not to the taste of a lot of people, and I cannot be emphatic enough about that warning. But, also, this is such a fascinating inversion. It's common in media for the surface plot of the story to be full of sexual tension, sometimes to the extent that the story is just a metaphor for the sex that the characters want to have. This is the exact opposite of that: The sex is a metaphor for everything else that's going on in the story. These people quite literally fuck their way out of their communication problems, and not in an obvious or cringy way. It's weirdly fascinating? It's also possible that my reaction to this series is so unusual as to not be shared by a single other reader. Anyway, the setup in this story is that Six has major trust issues and Bren is slowly and carefully trying to win her trust. It's a classic hurt/comfort setup, and if that had played out in the way that this story often does, Bren would have taken the role of the gentle hero and Six the role of the person he rescued. That is not at all where this story goes. Six doesn't need comfort; Six needs self-confidence and the ability to demand what she wants, and although the way Beyond Pain gets her there is a little ham-handed, it mostly worked for me. As with Beyond Shame, I felt like the moral of the story is that the O'Kane men are just bright enough to stop doing stupid things at the last possible moment. I think Beyond Pain worked a bit better than the previous book because Bren is not quite as dim as Dallas, so the reader doesn't have to suffer through quite as many stupid decisions. The erotica continues to mostly (although not entirely) follow traditional gender roles, with dangerous men and women who like attention. Presumably most people are reading these books for the sex, which I am wholly unqualified to review. For whatever it's worth, the physical descriptions are too mechanical for me, too obsessed with the precise structural assemblage of parts in novel configurations. I am not recommending (or disrecommending) these books, for a whole host of reasons. But I think the authors deserve to be rewarded for understanding that sex can be communication and that good communication about difficult topics is inherently interesting in a way that (at least for me) transcends the erotica. I bet I'm going to pick up another one of these about a year from now because I'm still thinking about these people and am still curious about how they are going to succeed. Followed by Beyond Temptation, an interstitial novella. The next novel is Beyond Jealousy. Rating: 6 out of 10

Review: Cascade Failure, by L.M. Sagas

Series:	Ambit's Run #1
Publisher:	Tor
Copyright:	2024
ISBN:	1-250-87126-3
Format:	Kindle
Pages:	407

Cascade Failure is a far-future science fiction adventure with a small helping of cyberpunk vibes. It is the first of a (so far) two-book series, and was the author's first novel. The Ambit is an old and small Guild ship, not much to look at, but it holds a couple of surprises. One is its captain, Eoan, who is an AI with a deep and insatiable curiosity that has driven them and their ship farther and farther out into the Spiral. The other is its surprisingly competent crew: a battle-scarred veteran named Saint who handles the fighting, and a talented engineer named Nash who does literally everything else. The novel opens with them taking on supplies at Aron Outpost. A supposed Guild deserter named Jalsen wanders into the ship looking for work. An AI ship with a found-family crew is normally my catnip, so I wanted to love this book. Alas, I did not. There were parts I liked. Nash is great: snarky, competent, and direct. Eoan is a bit distant and slightly more simplistic of a character than I was expecting, but I appreciated the way Sagas put them firmly in charge of the ship and departed from the conventional AI character presentation. Once the plot starts in earnest (more on that in a moment), we meet Anke, the computer hacker, whose charming anxiety reaction is a complete inability to stop talking and who adds some needed depth to the character interactions. There's plenty of action, a plot that makes at least some sense, and a few moments that almost achieved the emotional payoff the author was attempting. Unfortunately, most of the story focuses on Saint and Jal, and both of them are irritatingly dense cliches. The moment Jal wanders onto the Ambit in the first chapter, the reader is informed that Jal, Saint, and Eoan have a history. The crew of the Ambit spent a year looking for Jal and aren't letting go of him now that they've found him. Jal, on the other hand, clearly blames Saint for something and is not inclined to trust him. Okay, fine, a bit generic of a setup but the writing moved right along and I was curious enough. It then takes a full 180 pages before the reader finds out what the hell is going on with Saint and Jal. Predictably, it's a stupid misunderstanding that could have been cleared up with one conversation in the second chapter. Cascade Failure does not contain a romance (and to the extent that it hints at one, it's a sapphic romance), but I swear Saint and Jal are both the male protagonist from a certain type of stereotypical heterosexual romance novel. They're both the brooding man with the past, who is too hurt to trust anyone and assumes the worst because he's unable to use his words or ask an open question and then listen to the answer. The first half of this book is them being sullen at each other at great length while both of them feel miserable. Jal keeps doing weird and suspicious things to resolve a problem that would have been far more easily resolved by the rest of the crew if he would offer any explanation at all. It's not even suspenseful; we've read about this character enough times to know that he'll turn out to have a heart of gold and everything will be a misunderstanding. I found it tedious. Maybe people who like slow burn romances with this character type will have a less negative reaction. The real plot starts at about the time Saint and Jal finally get their shit sorted out. It turns out to have almost nothing to do with either of them. The environmental control systems of worlds are suddenly failing (hence the book title), and Anke, the late-arriving computer programmer and terraforming specialist, has a rather wild theory about what's happening. This leads to a lot of action, some decent twists, and a plot that felt very cyberpunk to me, although unfortunately it culminates in an absurdly-cliched action climax. This book is an action movie that desperately wants to make you feel all the feels, and it worked about as well as that typically works in action movies for me. Jaded cynicism and an inability to communicate are not the ways to get me to have an emotional reaction to a book, and Jal (once he finally starts talking) is so ridiculously earnest that it's like reading the adventures of a Labrador puppy. There was enough going on that it kept me reading, but not enough for the story to feel satisfying. I needed a twist, some depth, way more Nash and Anke and way less of the men, something. Everyone is going to compare this book to Firefly, but Firefly had better banter, created more complex character interactions due to the larger and more varied crew, and played the cynical mercenary for laughs instead of straight, all of which suited me better. This is not a bad book, particularly once it gets past the halfway point, but it's not that memorable either, at least for me. If you're looking for a space adventure with heavy action hero and military SF vibes that wants to be about Big Feelings but gets there in mostly obvious ways, you could do worse. If you're looking for a found-family starship crew story more like Becky Chambers, I think you'll find this one a bit too shallow and obvious. Not really recommended, although there's nothing that wrong with it and I'm sure other people's experience will differ. Followed by Gravity Lost, which I'm unlikely to read. Rating: 6 out of 10

Most of my Debian contributions this month were sponsored by Freexian. You can also support my work directly via Liberapay. OpenSSH OpenSSH upstream released 9.9p2 with fixes for CVE-2025-26465 and CVE-2025-26466. I got a heads-up on this in advance from the Debian security team, and prepared updates for all of testing/unstable, bookworm (Debian 12), bullseye (Debian 11), buster (Debian 10, LTS), and stretch (Debian 9, ELTS). jessie (Debian 8) is also still in ELTS for a few more months, but wasn t affected by either vulnerability. Although I m not particularly active in the Perl team, I fixed a libnet-ssleay-perl build failure because it was blocking openssl from migrating to testing, which in turn was blocking the above openssh fixes. I also sent a minor sshd -T fix upstream, simplified a number of autopkgtests using the newish Restrictions: needs-sudo facility, and prepared for removing the obsolete slogin symlink. PuTTY I upgraded to the new upstream version 0.83. GCC 15 build failures I fixed build failures with GCC 15 in a few packages:

• icoutils (contributed upstream)
• kali
• parted
• python-setproctitle
• vigor

Python team A lot of my Python team work is driven by its maintainer dashboard. Now that we ve finished the transition to Python 3.13 as the default version, and inspired by a recent debian-devel thread started by Santiago, I thought it might be worth spending a bit of time on the uscan error section. uscan is typically scraping upstream web sites to figure out whether new versions are available, and so it s easy for its configuration to become outdated or broken. Most of this work is pretty boring, but it can often reveal situations where we didn t even realize that a Debian package was out of date. I fixed these packages:

• cssutils (this in particular was very out of date due to a new and active upstream maintainer since 2021)
• django-assets
• django-celery-email
• django-sass
• django-yarnpkg
• json-tricks
• mercurial-extension-utils
• pydbus
• pydispatcher
• pylint-celery
• pyspread
• pytest-pretty
• python-apptools
• python-django-libsass (contributed a packaging fix upstream in passing)
• python-django-postgres-extra
• python-django-waffle
• python-ephemeral-port-reserve
• python-ifaddr
• python-log-symbols
• python-msrest
• python-msrestazure
• python-netdisco
• python-pathtools
• python-user-agents
• sinntp
• wchartype

I upgraded these packages to new upstream versions:

• cssutils (contributed a packaging tweak upstream)
• django-iconify
• django-sass
• domdf-python-tools
• extra-data (fixing a numpy 2.0 failure)
• flufl.i18n
• json-tricks
• jsonpickle
• mercurial-extension-utils
• mod-wsgi
• nbconvert
• orderly-set
• pydispatcher (contributed a Python 3.12 fix upstream)
• pylint
• pytest-rerunfailures
• python-asyncssh
• python-box (contributed a packaging fix upstream)
• python-charset-normalizer
• python-django-constance
• python-django-guid
• python-django-pgtrigger
• python-django-waffle
• python-djangorestframework-simplejwt
• python-formencode
• python-holidays (contributed a test fix upstream)
• python-legacy-cgi
• python-marshmallow-polyfield (fixing a test failure)
• python-model-bakery
• python-mrcz (fixing a numpy 2.0 failure)
• python-netdisco
• python-npe2
• python-persistent
• python-pkginfo (fixing a test failure)
• python-proto-plus
• python-requests-ntlm
• python-roman
• python-semantic-release
• python-setproctitle
• python-stdlib-list
• python-trustme
• python-typeguard (fixing a test failure)
• python-tzlocal
• pyzmq
• setuptools-scm
• sqlfluff
• stravalib
• tomopy
• trove-classifiers
• xhtml2pdf (fixing CVE-2024-25885)
• xonsh
• zodbpickle
• zope.deprecation
• zope.testrunner

In bookworm-backports, I updated python-django to 3:4.2.18-1 (issuing BSA-121) and added new backports of python-django-dynamic-fixture and python-django-pgtrigger, all of which are dependencies of debusine. I went through all the build failures related to python-click 8.2.0 (which was confusingly tagged but not fully released upstream and posted an analysis. I fixed or helped to fix various other build/test failures:

• cython
• dask
• deepdish
• hickle (contributed upstream)
• mdp (contributed upstream)
• mypy
• pillow
• pynput
• python-fonticon-fontawesome6
• python-persistent (contributed upstream)
• python-srsly

I dropped support for the old setup.py ftest command from zope.testrunner upstream. I fixed various odds and ends of bugs:

• django-memoize: autopkgtest must be marked superficial
• extra-data: extra-data: please add autopkgtests (to add coverage for python3-numpy)
• fpylll: missing dependency on numpy abi
• python-box: autopkgtest must be marked superficial
• python-hdmedians: missing dependency on numpy abi
• python-legacy-cgi: missing requirement: openstack-pkg-tools
• python-tzlocal: doesn t run any tests during the build or as autopkgtest
• requests: will FTBFS during trixie support period (contributed supporting fix upstream)
• setuptools-scm: project was renamed from setuptools_scm to setuptools-scm

Installer team Following up on last month, I merged and uploaded Helmut s /usr-move fix.

Most of my Debian contributions this month were sponsored by Freexian. If you appreciate this sort of work and are at a company that uses Debian, have a look to see whether you can pay for any of Freexian s services; as well as the direct benefits, that revenue stream helps to keep Debian development sustainable for me and several other lovely people. You can also support my work directly via Liberapay. Python team We finally made Python 3.13 the default version in testing! I fixed various bugs that got in the way of this:

• dnarrange (contributed upstream)
• docker-compose
• ionit (contributed upstream)
• nbclassic
• pymilter
• pyspf (contributed upstream)
• python-django
• python-handy-archives
• sinntp
• wireless-regdb

As with last month, I fixed a few more build regressions due to the removal of a deprecated intersphinx_mapping syntax in Sphinx 8.0:

• jupyter-console (contributed upstream)
• python-ewmh (reviewed patch from a contributor)
• python-gplearn (contributed upstream)

I ported a few packages to Django 5.1:

• django-sitetree (thanks to an Ubuntu patch)
• python-django-parler (thanks to an Ubuntu patch

I ported python-pypump to IPython 8.0. I fixed python-datamodel-code-generator to handle isort 6, and contributed that upstream. I fixed some packages to tolerate future versions of dh-python that will drop their dependency on python3-setuptools:

• cerealizer
• pyinotify
• pyspf
• python-holidays

I removed the old python-celery-common transitional package from celery, since nothing in Debian needs it any more. I fixed or helped to fix various other build/test failures:

• awesomeversion
• django-graphiql-debug-toolbar
• django-iconify
• flask-sqlalchemy (contributed upstream)
• freezegun
• napari (somewhat inconclusive, but I contributed fixes upstream to napari and npe2)
• pyglet
• python-construct-classes
• python-django-guid
• python-pyfakefs
• python-ring-doorbell
• recommonmark
• spectral-cube
• sphinx (helped with an upstream fix)
• sphinxcontrib-openapi (contributed upstream)
• sqlfluff
• terminator (contributed upstream)
• trac-wikiprint
• vcr.py (investigated and reported findings upstream, confirming that disabling these tests in the Debian packaging seems reasonable for now)

I upgraded these packages to new upstream versions:

• buildbot
• cloudpickle
• dask (fixing a Python 3.13 failure and working around a build failure due to sphinx-book-theme
• distributed (fixing a Python 3.13 failure; also contributed a fix upstream)
• importlib-resources (fixing a test failure on s390x and a test failure on all architectures)
• isort
• nbconvert
• psycopg3
• pydantic
• pydantic-settings
• pydoctor
• pypandoc
• python-argcomplete
• python-cai
• python-colormap (fixing a build failure with poetry-core 2.0, for which I contributed a fix upstream)
• python-django-guid
• python-easydev (fixing a build failure with poetry-core 2.0)
• python-holidays
• python-launchpadlib
• python-limits
• python-model-bakery
• python-openapi-schema-validator
• python-pathvalidate
• python-pyftpdlib
• python-quart-trio
• python-urllib3 (contributed a test fix upstream)
• python-telethon
• python-webob (fixing CVE-2024-42353)
• responses
• restrictedpython (fixing CVE-2024-47532 and CVE-2025-22153)
• sqlfluff
• vcr.py (fixing a build failure with python-urllib3 2.3.0
• xonsh (fixing a Python 3.13 failure)

Rust team I fixed rust-pyo3-ffi to avoid explicit Python version dependencies that were getting in the way of making Python 3.13 the default version. Security tools packaging team I uploaded libevt to fix a build failure on i386 and to tolerate future versions of dh-python that will drop their dependency on python3-setuptools. Installer team I helped with some testing of a debian-installer-utils patch as part of the /usr move. I need to get around to uploading this, since it looks OK now. Other small things Helmut Grohne reached out for help debugging a multi-arch coinstallability problem (you know it s going to be complicated when even Helmut can t figure it out on his own ) in binutils, and we had a call about that. I reviewed and applied a new Romanian translation of debconf s manual pages. I did my twice-yearly refresh of debmirror s mirror_size documentation, and applied a contribution to improve the example debmirror.conf. I fixed an arguable preprocessor string handling bug in man-db, and applied a fix for out-of-tree builds.

Review: The Sky Road, by Ken MacLeod

Series:	Fall Revolution #4
Publisher:	Tor
Copyright:	1999
Printing:	August 2001
ISBN:	0-8125-7759-0
Format:	Mass market
Pages:	406

The Sky Road is the fourth book in the Fall Revolution series, but it represents an alternate future that diverges after (or during?) the events of The Sky Fraction. You probably want to read that book first, but I'm not sure reading The Stone Canal or The Cassini Division adds anything to this book other than frustration. Much more on that in a moment. Clovis colha Gree is a aspiring doctoral student in history with a summer job as a welder. He works on the platform for the project, which the reader either slowly discovers from the book or quickly discovers from the cover is a rocket to get to orbit. As the story opens, he meets (or, as he describes it) is targeted by a woman named Merrial, a tinker who works on the guidance system. The early chapters provide only a few hints about Clovis's world: a statue of the Deliverer on a horse that forms the backdrop of their meeting, the casual carrying of weapons, hints that tinkers are socially unacceptable, and some division between the white logic and the black logic in programming. Also, because this is a Ken MacLeod novel, everyone is obsessed with smoking and tobacco the way that the protagonists of erotica are obsessed with sex. Clovis's story is one thread of this novel. The other, told in the alternating chapters, is the story of Myra Godwin-Davidova, chair of the governing Council of People's Commissars of the International Scientific and Technical Workers' Republic, a micronation embedded in post-Soviet Kazakhstan. Series readers will remember Myra's former lover, David Reid, as the villain of The Stone Canal and the head of the corporation Mutual Protection, which is using slave labor (sort of) to support a resurgent space movement and its attempt to take control of a balkanized Earth. The ISTWR is in decline and a minor power by all standards except one: They still have nuclear weapons. So, first, we need to talk about the series divergence. I know from reading about this book on-line that The Sky Road is an alternate future that does not follow the events of The Stone Canal and The Cassini Division. I do not know this from the text of the book, which is completely silent about even being part of a series. More annoyingly, while the divergence in the Earth's future compared to The Cassini Division is obvious, I don't know what the Jonbar hinge is. Everything I can find on-line about this book is maddeningly coy. Wikipedia claims the divergence happens at the end of The Sky Fraction. Other reviews and the Wikipedia talk page claim it happens in the middle of The Stone Canal. I do have a guess, but it's an unsatisfying one and I'm not sure how to test its correctness. I suppose I shouldn't care and instead take each of the books on their own terms, but this is the type of thing that my brain obsesses over, and I find it intensely irritating that MacLeod didn't explain it in the books themselves. It's the sort of authorial trick that makes me feel dumb, and books that gratuitously make me feel dumb are less enjoyable to read. The second annoyance I have with this book is also only partly its fault. This series, and this book in particular, is frequently mentioned as good political science fiction that explores different ways of structuring human society. This was true of some of the earlier books in a surprisingly superficial way. Here, I would call it hogwash. This book, or at least the Myra portion of it, is full of people doing politics in a tactical sense, but like the previous books of this series, that politics is mostly embedded in personal grudges and prior romantic relationships. Everyone involved is essentially an authoritarian whose ability to act as they wish is only contested by other authoritarians and is largely unconstrained by such things as persuasion, discussions, elections, or even theory. Myra and most of the people she meets are profoundly cynical and almost contemptuous of any true discussion of political systems. This is the trappings and mechanisms of politics without the intellectual debate or attempt at consensus, turning it into a zero-sum game won by whoever can threaten the others more effectively. Given the glowing reviews I've seen in relatively political SF circles, presumably I am missing something that other people see in MacLeod's approach. Perhaps this level of pettiness and cynicism is an accurate depiction of what it's like inside left-wing political movements. (What an appalling condemnation of left-wing political movements, if so.) But many of the on-line reviews lead me to instead conclude that people's understanding of "political fiction" is stunted and superficial. For example, there is almost nothing Marxist about this book it contains essentially no economic or class analysis whatsoever but MacLeod uses a lot of Marxist terminology and sets half the book in an explicitly communist state, and this seems to be enough for large portions of the on-line commentariat to conclude that it's full of dangerous, radical ideas. I find this sadly hilarious given that MacLeod's societies tend, if anything, towards a low-grade libertarianism that would be at home in a Robert Heinlein novel. Apparently political labels are all that's needed to make political fiction; substance is optional. So much for the politics. What's left in Clovis's sections is a classic science fiction adventure in which the protagonist has a radically different perspective from the reader and the fun lies in figuring out the world-building through the skewed perspective of the characters. This was somewhat enjoyable, but would have been more fun if Clovis had any discernible personality. Sadly he instead seems to be an empty receptacle for the prejudices and perspective of his society, which involve a lot of quasi-religious taboos and an essentially magical view of the world. Merrial is a more interesting character, although as always in this series the romance made absolutely no sense to me and seemed to be conjured by authorial fiat and weirdly instant sexual attraction. Myra's portion of the story was the part I cared more about and was more invested in, aided by the fact that she's attempting to do something more interesting than launch a crewed space vehicle for no obvious reason. She at least faces some true moral challenges with no obviously correct response. It's all a bit depressing, though, and I found Myra's unwillingness to ground her decisions in a more comprehensive moral framework disappointing. If you're going to make a protagonist the ruler of a communist state, even an ironic one, I'd like to hear some real political philosophy, some theory of sociology and economics that she used to justify her decisions. The bits that rise above personal animosity and vibes were, I think, said better in The Cassini Division. This series was disappointing, and I can't say I'm glad to have read it. There is some small pleasure in finishing a set of award-winning genre books so that I can have a meaningful conversation about them, but the awards failed to find me better books to read than I would have found on my own. These aren't bad books, but the amount of enjoyment I got out of them didn't feel worth the frustration. Not recommended, I'm afraid. Rating: 6 out of 10

Review: Moose Madness, by Mar Delaney

Publisher:	Kalikoi
Copyright:	May 2021
ASIN:	B094HGT1ZB
Format:	Kindle
Pages:	68

Moose Madness is a sapphic shifter romance novella (on the short side for a novella) by the same author as Wolf Country. It was originally published in the anthology Her Wild Soulmate, which appears to be very out of print. Maggie (she hates the nickname Moose) grew up in Moose Point, a tiny fictional highway town in (I think) Alaska. (There is, unsurprisingly, an actual Moose Point in Alaska, but it's a geographic feature and not a small town.) She stayed after graduation and is now a waitress in the Moose Point Pub. She's also a shifter; specifically, she is a moose shifter like her mother, the town mayor. (Her father is a fox shifter.) As the story opens, the annual Moose Madness festival is about to turn the entire town into a blizzard of moose kitsch. Fiona Barton was Maggie's nemesis in high school. She was the cool, popular girl, a red-headed wolf shifter whose friend group teased and bullied awkward and uncoordinated Maggie mercilessly. She was also Maggie's impossible crush, although the very idea seemed laughable. Fi left town after graduation, and Maggie hadn't thought about her for years. Then she walks into Moose Point Pub dressed in biker leathers, with piercings and one side of her head shaved, back in town for a wedding in her pack. Much to the shock of both Maggie and Fi, they realize that they're soulmates as soon as their eyes meet. Now what? If you thought I wasn't going to read the moose and wolf shifter romance once I knew it existed, you do not know me very well. I have been saving it for when I needed something light and fun. It seemed like the right palette cleanser after a very disappointing book. Moose Madness takes place in the same universe as Wolf Country, which means there are secret shifters all over Alaska (and presumably elsewhere) and they have the strong magical version of love at first sight. If one is a shifter, one knows immediately as soon as one locks eyes with one's soulmate and this feeling is never wrong. This is not my favorite romance trope, but if I get moose shifter romance out of it, I'll endure. As you can tell from the setup, this is enemies-to-lovers, but the whole soulmate thing shortcuts the enemies to lovers transition rather abruptly. There's a bit of apologizing and air-clearing at the start, but most of the novella covers the period right after enemies have become lovers and are getting to know each other properly. If you like that part of the arc, you will probably enjoy this, but be warned that it's slight and somewhat obvious. There's a bit of tension from protective parents and annoying pack mates, but it's sorted out quickly and easily. If you want the characters to work for the relationship, this is not the novella for you. It's essentially all vibes. I liked the vibes, though! Maggie is easy to like, and Fi does a solid job apologizing. I wish there was quite a bit more moose than we get, but Delaney captures the combination of apparent awkwardness and raw power of a moose and has a good eye for how beautiful large herbivores can be. This is not the sort of book that gives a moment's thought to wolves being predators and moose being, in at least some sense, prey animals, so if you are expecting that to be a plot point, you will be disappointed. As with Wolf Country, Delaney elides most of the messier and more ethically questionable aspects of sometimes being an animal. This is a sweet, short novella about two well-meaning and fundamentally nice people who are figuring out that middle school and high school are shitty and sometimes horrible but don't need to define the rest of one's life. It's very forgettable, but it made me smile, and it was indeed a good palette cleanser. If you are, like me, the sort of person who immediately thought "oh, I have to read that" as soon as you saw the moose shifter romance, keep your expectations low, but I don't think this will disappoint. If you are not that sort of person, you can safely miss this one. Rating: 6 out of 10

Review: The House That Fought, by Jenny Schwartz

Series:	Uncertain Sanctuary #3
Publisher:	Jenny Schwartz
Copyright:	December 2020
Printing:	September 2024
ASIN:	B0DBX6GP8Z
Format:	Kindle
Pages:	199

The House That Fought is the third and final book of the self-published space fantasy trilogy starting with The House That Walked Between Worlds. I read it as part of the Uncertain Sanctuary omnibus, which is reflected in the sidebar metadata. At the end of the last book, one of Kira's random and vibe-based trust decisions finally went awry. She has been betrayed! She's essentially omnipotent, the betrayal does not hurt her in any way, and, if anything, it helps the plot resolution, but she has to spend some time feeling bad about it first. Eventually, though, the band of House residents return to the problem of Earth's missing magic. By Earth here, I mean our world, which technically isn't called Earth in the confusing world-building of this series. Earth within this universe is an archetypal world that is the origin world for humans, the two types of dinosaurs, and Neanderthals. There are numerous worlds that have split off from it, including Human, the one world where humans are dominant, which is what we think of as Earth and what Kira calls Earth half the time. And by worlds, I mean entire universes (I think?), because traveling between "worlds" is dimensional travel, not space travel. But there is also space travel? The world building started out confusing and has degenerated over the course of the series. Given that the plot, such as it is, revolves around a world-building problem, this is not a good sign. Worse, though, is that the quality of the writing has become unedited, repetitive drivel. I liked the first book and enjoyed a few moments of the second book, but this conclusion is just bad. This is the sort of book that the maxim "show, don't tell" was intended to head off. The dull, thudding description of the justification for every character emotion leaves no room for subtlety or reader curiosity.

Evander was elf and I was human. We weren't the same. I had magic. He had the magic I'd unconsciously locked into his augmentations. We were different and in love. Speaking of our differences could be a trigger. I peeked at him, worried. My customary confidence had taken a hit. "We're different," he answered my unspoken question. "And we work anyway. We'll work to make us work."

There is page after page after page of this sort of thing: facile emotional processing full of cliches and therapy-speak, built on the most superficial of relationships. There's apparently a romance now, which happened with very little build-up, no real discussion or communication between the characters, and only the most trite and obvious relationship work. There is a plot underneath all this, but it's hard to make it suspenseful given that Kira is essentially omnipotent. Schwartz tries to turn the story into a puzzle that requires Kira figure out what's going on before she can act, but this is undermined by the confusing world-building. The loose ends the plot has accumulated over the previous two books are mostly dropped, sometimes in a startlingly casual way. I thought Kira would care who killed her parents, for example; apparently, I was wrong. The previous books caught my attention with a more subtle treatment of politics than I expect from this sort of light space fantasy. The characters had, I thought, a healthy suspicion of powerful people and a willingness to look for manipulation or ulterior motives. Unfortunately, we discover here that this is not due to an appreciation of the complexity of power and motive in governments. Instead, it's a reflexive bias against authority and structured society that sounds like an Internet libertarian complaining about taxes. Powerful people should be distrusted because all governments are corrupt and bad and steal your money in order to waste it. Oh, except for the cops and the military; they're generally good people you should trust. In retrospect, I should have expected this turn given the degree to which Schwartz stressed the independence of sorcerers. I thought that was going somewhere more interesting than sorcerers as self-appointed vigilantes who are above the law and can and should do anything they damn well please. Sadly, it was not. Adding to the lynch mob feeling, the ending of this book is a deeply distasteful bit of magical medieval punishment that I thought was vile, and which is, of course, justified by bad things happening to children. No societal problems were solved, but Kira got her petty revenge and got to be gleeful and smug about it. This is apparently what passes for a happy ending. I don't even know what to say about the bizarre insertion of Christianity, which makes little sense given the rest of the world-building. It's primarily a way for Kira to avoid understanding or thinking about an important part of the plot. As sadly seems to often be the case in books like this, Kira's faith doesn't appear to prompt any moral analysis or thoughtful ethical concern about her unlimited power, just certainty that she's right and everyone else is wrong. This was dire. It is one of those self-published books that I feel a little bad about writing this negative of a review about, because I think most of the problem was that the author's skill was not up to the story that she wanted to tell. This happens a lot in self-published fiction, particularly since Kindle Unlimited has started rewarding quantity over quality. But given how badly the writing quality degraded over the course of the series, and how offensive the ending was, I do want to warn other people off of the series. There is so much better fiction out there. Avoid this one, and probably the rest of the series unless you're willing to stop after the first book. Rating: 2 out of 10

Review: Dark Matters, by Michelle Diener

Series:	Class 5 #4
Publisher:	Eclipse
Copyright:	October 2019
ISBN:	0-6454658-6-0
Format:	Kindle
Pages:	307

Dark Matters is the fourth book in the science fiction semi-romance Class 5 series. There are spoilers for all of the previous books, and although enough is explained that you could make sense of the story starting here, I wouldn't recommend it. As with the other books in the series, it follows new protagonists, but the previous protagonists make an appearance. You will be unsurprised to hear that the Tecran kidnapped yet another Earth woman. The repetitiveness of the setup would be more annoying if the book took itself too seriously, but it doesn't, and so I mostly find it entertaining. I thought Diener was going to dodge the obvious series structure, but now I am wondering if we're going to end up with one woman per Class 5 ship after all. Lucy is not on a ship, however, Tecran or otherwise. She is a captive in a military research facility on the Tecran home world. The Tecran are in very deep trouble given the events of the previous book and have decided that Lucy's existence is a liability. Only the intervention of some sympathetic Tecran scientists she partly befriended during her captivity lets her escape the facility before it's destroyed. Now she's alone, on an alien world, being hunted by the military. It's not entirely the fault of this book that it didn't tell the story that I wanted to read. The setup for Dark Matters implies this book will see the arrival of consequences for the Tecran's blatant violations of the Sentient Beings Agreement. I was looking forward to a more political novel about how such consequences could be administered. This is the sort of problem that we struggle with in our politics: Collective punishment isn't acceptable, but there have to be consequences sufficient to ensure that a state doesn't repeat the outlawed behavior, and yet attempting to deliver those consequences feels like occupation and can set off worse social ruptures and even atrocities. I wasn't expecting that deep of political analysis of what is, after all, a lighthearted SF adventure series, but Diener has been willing to touch on hard problems. The ethics of violence has been an ongoing theme of the series. Alas for me, this is not what we get. The arriving cavalry, in the form of a Class 5 and the inevitable Grih hunk to serve as the love interest du jour, quickly become more interested in helping Lucy elude pursuers (or escape captors) than in the delicate political situation. The conflict between the local population is a significant story element, but only as backdrop. Instead, this reads like a thriller or an action movie, complete with alien predators and a cinematic set piece finale. The political conflict between the Tecran and the United Council does reach a conclusion of sorts, but it's not that satisfying. Perhaps some of the political fallout will happen in future books, but here Diener simplifies the morality of the story in the climax and dodges out of the tricky ethical and social challenge of how to punish a sovereign nation. One of the things I like about this series is that it takes moral indignation seriously, but now that Diener has raised the (correct) complication that people have strong motivations to find excuses for the actions of their own side, I hope she can find a believable political resolution that isn't simple brute force. This entry in the series wasn't bad, but it didn't grab me. Lucy was fine as a protagonist; her ability to manipulate the Tecran into making mistakes fits the longer time she's had to study them and keeps her distinct from the other protagonists. But the small bit of politics we do see is unsatisfying and conveniently simplistic, and this book mostly degenerates into generic action sequences. Bane, the Class 5 ship featured in this story, is great when he's active, and I continue to be entertained by the obsession the Class 5 ships have with Earth women, but he's sidelined for too much of the story. I felt like Diener focused on the least interesting part of the story setup. If you've read this far, there's nothing wrong with this entry. You'll probably want to keep reading. But it felt like a missed opportunity. Followed in publication order by Dark Ambitions, a novella that returns to Rose to tell a side story. The next novel is Dark Class, in which we'll presumably see the last kidnapped Earth woman. Rating: 6 out of 10

In 2024, I finished and reviewed 46 books, not counting another three books I've finished but not yet reviewed and which will therefore roll over to 2025. This is slightly fewer books than the last couple of years, but more books than 2021. Reading was particularly spotty this year, with much of the year's reading packed into late November and December. This was a year in which I figured out I was trying to do too much, but did not finish figuring out what to do about it. Reading and particularly reviewing reflected that, with long silent periods and then attempts to catch up. One of the goals for next year is to find a more sustainable balance for the hobbies in my life, including reading. My favorite books I read this year were Ashley Herring Blake's Bright Falls sapphic romance trilogy: Delilah Green Doesn't Care, Astrid Parker Doesn't Fail, and Iris Kelly Doesn't Date. These are not perfect books, but they made me laugh, made me cry, and were impossible to put down. My thanks to a video from BookTuber Georgia Marie for the recommendation. I Shall Wear Midnight was the best of the remaining Pratchett novels. It's the penultimate Tiffany Aching book and, in my opinion, the best. All of the elements of the previous books come together in snarky competence porn that was a delight to read. The best book I read last year was Mark Lawrence's The Book That Wouldn't Burn, which much to my surprise did not make a single award list for its publication year of 2023. It was a tour de force of world-building that surprised me multiple times. Unfortunately, the sequel was not as good and I fear the series may be heading in the wrong direction. I am attempting to stay hopeful about the upcoming third and concluding book. I didn't read much non-fiction this year, but the best of what I did read was Zeke Faux's Number Go Up about the cryptocurrency bubble. This book will not change anyone's mind, but it's a readable and entertaining summary of some of the more obvious cryptocurrency scams. I also had enough quibbles with it to write an extended review, which is a compliment of sorts. The Discworld read-through is done, so I may either start or return to another series re-read in 2025. I have a huge backlog of all sorts of books, though, so we will see how the year goes. As always, I have no specific numeric goals, just a hope that I can make time for regular and varied reading and maintain a rhythm with writing reviews. The full analysis includes some additional personal reading statistics, probably only of interest to me.

Review: Driving the Deep, by Suzanne Palmer

Series:	Finder Chronicles #2
Publisher:	DAW
Copyright:	2020
ISBN:	0-7564-1512-8
Format:	Kindle
Pages:	426

Driving the Deep is science fiction, a sequel to Finder (not to be confused with Finders, Emma Bull's Finder, or the many other books and manga with the same title). It stands alone and you could start reading here, although there will be spoilers for the first book of the series. It's Suzanne Palmer's second novel. When Fergus Ferguson was fifteen, he stole his cousin's motorcycle to escape an abusive home, stashed it in a storage locker, and got the hell off of Earth. Nineteen years later, he's still paying for the storage locker and it's still bothering him that he never returned the motorcycle. His friends in the Shipyard orbiting Pluto convince him to go to Earth and resolve this ghost of his past, once and for all. Nothing for Fergus is ever that simple. When the key he's been carrying all these years fails to open the storage unit, he hacks it open, only to find no sign of his cousin's motorcycle. Instead, the unit is full of expensive storage crates containing paintings by artists like Van Gogh. They're obviously stolen. Presumably the paintings also explain the irate retired police officer who knocks him out and tries to arrest him, slightly after the urgent message from the Shipyard AI telling him his friends are under attack. Fergus does not stay arrested, a development that will not surprise readers of the previous book. He does end up with an obsessed and increasingly angry ex-cop named Zacker as an unwanted passenger. Fergus reluctantly cuts a deal with Zacker: assist him in finding out what happened to his friends, and Fergus will then go back to Earth and help track down the art thieves who shot Zacker's daughter. It will be some time before they get back to Earth. Fergus's friends have been abducted by skilled professionals. What faint clues he can track down point to Enceladus, a moon of Saturn with a vast subsurface ocean. One simulation test with a desperate and untrustworthy employer later, Fergus is now a newly-hired pilot of an underwater hauler. The trend in recent SFF genre novels has been towards big feelings and character-centric stories. Sometimes this comes in the form of found family, sometimes as melodrama, and often now as romance. I am in general a fan of this trend, particularly as a corrective to the endless engineer-with-a-wrench stories, wooden protagonists, and cardboard characters that plagued classic science fiction. But sometimes I want to read a twisty and intelligent plot navigated by a competent but understated protagonist and built around nifty science fiction ideas. That is exactly what Driving the Deep is, and I suspect this series is going to become my go-to recommendation for people who "just want a science fiction novel." I don't want to overstate this. Fergus is not a blank slate; he gets the benefit of the dramatic improvement in writing standards and characterization in SFF over the past thirty years. He's still struggling with what happened to him in Finder, and the ending of this book is rather emotional. But the overall plot structure is more like a thriller or a detective novel: there are places to go, people to investigate, bases to infiltrate, and captives to find, so the amount of time spent on emotional processing is necessarily limited. Fergus's emotions and characterization are grace notes around the edges of the plot, not its center. I thoroughly enjoyed this. Palmer has a light but effective touch with characterization and populates the story with interesting and distinguishable characters. The plot has a layered complexity that allows Fergus to keep making forward progress without running out of twists or getting repetitive. The motivations of the villains were not the most original, but they didn't need to be; the fun of the story is figuring out who the villains are and watching Fergus get out of impossible situations with the help of new friends. Finder was a solid first novel, but I thought Driving the Deep was a substantial improvement in both pacing and plot coherence. If I say a novel is standard science fiction, that sounds like criticism of lack of originality, but sometimes standard science fiction is exactly what I want to read. Not every book needs to do something wildly original or upend my understanding of story. I started reading science fiction because I loved tense adventures on moons of Saturn with intelligent spaceships and neat bits of technology, and they're even better with polished writing, quietly competent characterization, and an understated sense of humor. This is great stuff, and there are two more books already published that I'm now looking forward to. Highly recommended when you just want a science fiction novel. Followed by The Scavenger Door. Rating: 8 out of 10

Review: House in Hiding, by Jenny Schwartz

Series:	Uncertain Sanctuary #2
Publisher:	Jenny Schwartz
Copyright:	October 2020
Printing:	September 2024
ASIN:	B0DBX6GP8Z
Format:	Kindle
Pages:	196

House in Hiding is the second book of a self-published space fantasy trilogy that started with The House That Walked Between Worlds. I read it as part of the Uncertain Sanctuary omnibus, which is reflected in the sidebar metadata. At the end of the previous book, Kira had gathered a motley crew for her house and discovered that she had drawn the attention of some rather significant galactic powers. Now, with the help of her new (hopefully) friends, she has to decide what role she's going to play in the galaxy. Or she can dither a lot, ruminate repeatedly on the same topics, and flail about randomly. That's also an option. This is slightly unfair. By the second half of the book, the series plot is beginning to cohere around two major problems: what is happening to the magic flows in the universe, and who killed Kira's parents. But apparently there was a limit on my enjoyment for the chaos in Kira's chaotic decisiveness I praised in my review of the last book, and I hit that limit around the middle of this book. I am interested in the questions of ethics, responsibility, and public image that this series is raising. I'm just not convinced that Schwartz is going to provide satisfying answers. One thing I do appreciate about this book is that it acknowledges that politics exist and that taking powerful people at face value is a bad idea. You would think that this would be a low bar, and yet it's depressing how many fantasy novels signal the trustworthiness of a character via some variation of "I looked into his eyes and shook his hand," or at least expect readers to be surprised by the inevitable betrayals. Schwartz does not make that mistake; after getting a call from a powerful player in galactic politics, the characters take apart everything that was said while assuming it could be attempted manipulation, which is the correct initial response. My problem comes after that. I like reading about competent characters with a plan, and these are absurdly powerful but very naive characters with no plan. This is realistic for the situation Kira has been thrust into, but it's not that entertaining to read about. I think the root of my problem is that there are some fundamental storytelling problems here that Schwartz is struggling to fix. The basic theory of story says that you need a protagonist, a setting, a conflict, and a plot. Schwartz has a good protagonist, one great supporting character and several adequate ones, and an enjoyably weird setting. I think she's working her way up to having a plot, although usually it's best for the plot to show up before the middle book of the series. What she doesn't have is a meaningful conflict. It's not entirely clear to either the reader or to Kira why Kira cares about what's happening. You would not think this would be a problem given that Kira's parents were murdered before the start of the first book. That's a classic conflict that's driven more books than I think anyone could count. It's not what Kira has cared about up to this point, however; she got away from Earth and has shown no sign of wanting to go back or identify the people who killed her parents, perhaps because she mostly blames herself. Instead, she's stumbling across other problems in the universe that other people would like her to care about. She occasionally feels like she ought to care about them because they involve her new friends or because she wants to be a good person, but they have very little dramatic oomph. "I'm a sorcerer and vaguely want the universe to be a better place" turns out to not work that well as a source of dramatic tension. This lack of conflict is somewhat fascinating because it's so different than most fantasy novels. If Schwartz were more aware of how oddly disconnected her protagonist is from the story conflict, I think there could be a thoughtful, if odd, psychological novel in here about one's ethical responsibilities if one suddenly had vast power and no strong attachments to the world. Kira does gesture occasionally in that direction, but there's no real meat to her musings. Instead, her lack of motivation is solved through one of the hoariest tropes in fiction: children in danger. I really want to like this series, and I still love the House, but this book was not good. The romance that I was delighted to not be subjected to in the first book appears to be starting (sigh), the political maneuvering that happens here is only mildly interesting and not believably competent, and the book concludes in Kira making an egregiously and blatantly stupid mistake that should have resulted in one of her friends asking her what the hell she was doing. Some setup happens, and it seems likely that the final book will have a clear conflict and plot, but this middle book was a disappointing mess. These books are fast to read and lightly entertaining between other things, and the House still has me invested enough in this universe that I'll read the last book in the omnibus. Be warned, though, that the middle book is more a collection of anecdotes than a story, and there's only so much of Kira showing off her power I can take without a conflict and a plot. Followed by The House That Fought. Rating: 5 out of 10

Review: The Last Hour Between Worlds, by Melissa Caruso

Series:	The Echo Archives #1
Publisher:	Orbit
Copyright:	November 2024
ISBN:	0-316-30364-X
Format:	Kindle
Pages:	388

The Last Hour Between Worlds is urban, somewhat political high fantasy with strong fae vibes. It is the first book of a series, but it stands alone quite well. Kembral Thorne is a Hound, a member of the guild that serves as guards, investigators, and protectors. Kembral's specialty is Echo retrieval: rescues of people and animals who have fallen through a weak spot in reality into one of the strange, dangerous, and malleable layers called Echoes. Kem once rescued a dog from six layers down, an almost unheard-of feat. Kem is also a new single mother, which means her past two months have been spent in a sleep-deprived haze revolving exclusively around her much-beloved infant. Dona Marjorie Swift's year-turning party is the first time she's been out without Emmi since she gave birth, and she's only there because her sister took the child and practically shoved her out the door. Now, she's desperately trying to remember how to be social and normal, which is not made easier by the unexpected presence of Rika at the party. Rika Nonesuch is not a Hound. She's a Cat, a member of the guild of thieves and occasional assassins. They are the nemesis of the Hounds, but in a stylized and formalized way in which certain courtesies are expected. (The politics of this don't really make sense; you just have to go with it.) Kem has complicated feelings about Rika's grace, banter, and intoxicating perfume, feelings that she thought might be reciprocated until Rika drugged her during an apparent date and left her buried under a pile of garbage. She was not expecting Rika to be at this party and is definitely not ready to have a conversation with her. This emotional turmoil is rudely interrupted by the death of nearly everyone at the party via an Echo poison, the appearance of a dark figure driving a black sword into someone, and the descent of the entire party into an Echo. This was one of those books that kept getting better the farther into the book I read. I was a bit leery at first because the publisher's blurb made it sound more like horror than I prefer, but this is more the disturbing strangeness of fae creatures than the sort of gruesomeness, disgust, or body horror that I find off-putting. Most importantly, the point of this book is not to torture the characters or scare the reader. It's instead structured a bit like a murder mystery, but one whose resolution requires working out obscure fantasy rules and hidden political agendas. One of the currencies in the world of Echos is blood, but another is emotion, revelation, and the stories that bring both, and Caruso focuses the story more on that aspect than on horrifying imagery.

Rika frowned. "Resolve it? How?" "I have no idea." I couldn't keep my frustration from leaking through. "Might be that we have to delve deep into our own hearts to confront the unhealed wounds we've carried with us in secret. Might be that we have to say their names backward, or just close our eyes and they'll go away. Echoes never make any damned sense." Rika made a face. "We'd better not have to confront our unhealed wounds, or I'm leaving you to die."

All of The Last Hour Between Worlds is told in the first person from Kem's perspective, but Rika is the best character in this book. Kem is a rather straightforward, dogged, stubborn protector; Rika is complicated, selfish, conflicted, and considerably more dynamic. The first obvious twist in her background I spotted so long before Kem found out that it was a bit frustrating, but there were multiple satisfying twists after that. As advertised in the blurb, there's a sapphic romance angle here, but it's the sort that comes from a complicated friendship and a lot of mutual respect rather than love at first sight. Some of their relationship conflict is driven by misunderstanding, but the misunderstanding happens before the novel begins, which means the reader doesn't have to sit through the bit where one yells at the characters for being stupid. It helps that the characters have something concrete to do, and that driving plot problem is multi-layered and satisfying. Each time the party falls through a layer of reality, it's mostly reset to the start of the book, but the word "mostly" is hiding a lot of subtlety. Given the clock at the start of each chapter and the blurb (if one read it), the reader can make a good guess that the plot problem will not be fully resolved until the characters fall quite deep into the Echoes, but the story never felt repetitive the way that some time loop stories can. As the characters gain more understanding, the problems change, the players change, and they have to make several excursions into the surrounding world. This is the sort of fantasy that feels a bit like science fiction. You're thrown into a world with a different culture and different rules that are foreign to the reader and natural to the characters. Part of the fun of reading is figuring out the rules, history, and backstory while watching the characters try to solve the puzzles they're faced with. The writing is good but not great. Characterization was good enough for a story primarily focused on action and puzzle-solving, but it was a bit lacking in subtlety. I think Caruso's strengths showed most in the world design, particularly the magic system and the rules followed by the Echo creatures. The excursions outside of the somewhat-protected house struck a balance between eeriness and comprehensibility that reminded me of T. Kingfisher or Sandman. The human politics were unfortunately less successful and rested on some tired centrist cliches. Thankfully, this was not the main point of the story. I should also warn that there is a lot of talk about babies. Kem's entire identity at the start of the novel, to the point of incessant monologue, is "new mother." This is not a perspective we get very often in fantasy, and Kem eventually finds a steadier balance between her bond with her daughter and the other parts of her life. I think some readers will feel very seen. But Caruso leans hard into maternal bonding. So hard. If you don't want to read about someone who is deliriously obsessed with their new child, you may want to skip this one. Right after I finished this book, I thought it was amazing. Now that I've had a few days to think about it, the lack of subtlety and the facile human politics brought it down a notch. I'm a science fiction reader at heart, so I loved the slow revelation of mechanics; the reader starts the story by knowing that Kem can "blink step" but not knowing what that means, and by the end of the story one not only knows but has opinions about its limitations, political implications, and interactions with other forms of magic. The Echo worlds are treated similarly, and this type of world-building is my jam. But the cost is that the human characters, particularly the supporting cast, don't get the same focus and therefore are a bit straightforward and obvious. The subplot with Dona Vandelle was particularly annoying. Ah well. Kem and Rika's relationship did work, and it's the center of the book. If you like fantasy mechanics but are a bit leery of fae stories because they feel too symbolic or arbitrary, give this a try. It's the most satisfyingly constructed fae story that I've read in a long time. It's not great literary fiction, but it's also not trying to be; it's a puzzle adventure, and a well-executed one. Recommended, and I will definitely be reading the sequel. Content notes: Lots of violent death and other physical damage, creepy dream worlds with implied but not explicit horror, and rather a lot of blood. Followed by The Last Soul Among Wolves, not yet published at the time I wrote this review. Rating: 8 out of 10

Review: The House That Walked Between Worlds, by Jenny Schwartz

Series:	Uncertain Sanctuary #1
Publisher:	Jenny Schwartz
Copyright:	June 2020
Printing:	September 2024
ASIN:	B0DBX6GP8Z
Format:	Kindle
Pages:	215

The House That Walked Between Worlds is the first book of a self-published trilogy of... hm. Space fantasy? Pure fantasy with a bit of science fiction thrown in for flavor? Something like that. I read it as part of the Uncertain Sanctuary omnibus, which is reflected in the sidebar metadata. Kira Aist is a doctor. She's also a witch and a direct descendant of Baba Yaga. Her Russian grandmother warned her to never use magic and never reveal who she was because people would hunt her and her family if she did. She broke the rule to try to save a child, her grandmother was right, and now multiple people are dead, including her parents. As the story opens, she's deep in the wilds of New Zealand in a valley with buried moa bones, summoning her House so that she can flee Earth. Kira's first surprise is that her House is not the small hut that she was expecting from childhood visits to Baba Yaga. It's larger. A lot larger: an obsidian castle with nine towers and legs that resemble dragons rather than the moas whose magic she drew on. Her magic apparently had a much different idea of what she needs than she did. Her second surprise is that her magical education is highly incomplete, and she is not the witch that she thought she was. Her ability to create a House means that she's a sorcerer, the top tier of magical power in a hierarchy about which she knows essentially nothing. Thankfully the House has a library, but Kira has a lot to learn about the universe and her place in it. I picked this up because the premise sounded a little like the Innkeeper novels, and since another novel in that series does not appear to be immediately forthcoming, I went looking elsewhere for my cozy sentient building fix. The House That Walked Between Worlds is nowhere near as well-written (or, frankly, coherent) as the Innkeeper books, but it did deliver some of the same vibes. You should know going in that there isn't much in the way of a plot. Schwartz invented an elaborate setting involving archetype worlds inhabited by classes of mythological creatures that in some mystical sense surround a central system called Qaysar. These archetype worlds spawn derived worlds, each of which seems to be its own dimension, although the details are a bit murky to me. The world Kira thinks of as Earth is just one of the universes branched off of an archetypal Earth, and is the only one of those branchings where the main population is human. The other Earth-derived worlds are populated by the Dinosaurians and the Neanderthals. Similarly, there is a Fae world that branches into Elves and Goblins, an Epic world that branches into Shifters, Trolls, and Kobolds, and so forth. Travel between these worlds is normally by slow World Walker Caravans, but Houses break the rules of interdimensional travel in ways that no one entirely understands. If your eyes are already starting to glaze over, be warned there's a lot of this. The House That Walked Between Worlds is infodumping mixed with vibes, and I think you have to enjoy the setting, or at least the sheer enthusiasm of Schwartz's presentation of it, to get along with this book. The rest of the story is essentially Kira picking up strays: first a dangerous-looking elf cyborg, then a juvenile giant cat (because of course there's a pet fantasy space cat; it's that sort of book), and then a charming martial artist who I'm fairly sure is up to no good. Kira is entirely out of her depth and acting on instinct, which luckily plays into stereotypes of sorcerers as mysterious and unpredictable. It also helps that her magic is roughly "anything she wants to happen, happens." This is, in other words, not a tightly-crafted story with coherent rules and a sense of risk and danger. It's a book that succeeds or fails almost entirely on how much you like the main characters and enjoy the world-building. Thankfully, I thought the characters were fun, if not (so far) all that deep. Kira deals with her trauma without being excessively angsty and leans into her new situation with a chaotic decisiveness that I found charming. The cyborg elf is taciturn and a bit inscrutable at first, but he grew on me, and thankfully this book does not go immediately to romance. Late in the book, Kira picks up a publicity expert, which was not at all the type of character that I was expecting and which I found delightful. Most importantly, the House was exactly what I was looking for: impish, protective, mysterious, inhuman, and absurdly overpowered. I adore cozy sentient building stories, so I'm an easy audience for this sort of thing, but I'm already eager to read more about the House. This is not great writing by any stretch, and you will be unsurprised that it's self-published. If you're expecting the polish and plot coherence of the Innkeeper stories, you'll be disappointed. But if you just want to spend some time with a giant sentient space-traveling mansion inhabited by unlikely misfits, and you don't mind large amounts of space fantasy infodumping, consider giving this a shot. I had fun with it and plan on reading the rest of the omnibus. Followed by House in Hiding. Rating: 6 out of 10

Review: Iris Kelly Doesn't Date, by Ashley Herring Blake

Series:	Bright Falls #3
Publisher:	Berkley Romance
Copyright:	October 2023
ISBN:	0-593-55058-7
Format:	Kindle
Pages:	381

Iris Kelly Doesn't Date is a sapphic romance novel (probably a romantic comedy, although I'm bad at romance subgenres). It is the third book in the Bright Falls series. In the romance style, it has a new set of protagonists, but the protagonists of the previous books appear as supporting characters and reading this will spoil the previous books. Among the friend group we were introduced to in Delilah Green Doesn't Care, Iris was the irrepressible loudmouth. She's bad at secrets, good at saying whatever is on her mind, and has zero desire to either get married or have children. After one of the side plots of Astrid Parker Doesn't Fail, she has sworn off dating entirely. Iris is also now a romance novelist. Her paper store didn't get enough foot traffic to justify staying open, so she switched her planner business to online only and wrote a romance novel that was good enough to get a two-book deal. Now she needs to write a second book and she has absolutely nothing. Her own avoidance of romantic situations is not helping, but neither is her meddling family who are convinced her choices about marriage and family can be overturned with sufficient pestering. She desperately needs to shake up her life, get out of her creative rut, and do something new. Failing that, she'll settle for meeting someone in a bar and having some fun. Stevie is a barista and actress living in Portland. Six months ago, she broke up with Adri, her creative partner, girlfriend of six years, and the first person with whom she had a serious relationship. More precisely, Adri broke up with her. They're still friends, truly, even though that friendship is being seriously strained by Adri dating Vanessa, another member of their small and close-knit friend group. Stevie has occasionally-crippling anxiety, not much luck in finding real acting roles in Portland, and a desperate desire to not make waves. Ren, the fourth member of their friend group, thinks Stevie needs a new relationship, or at least a fling. That's how Stevie, with Ren as backup and encouragement, ends up at the same bar with Iris. The resulting dance and conversation was rather fun for both Stevie and Iris. The attempted one-night stand afterwards was a disaster due to Stevie's anxiety, and neither of them expected to see the other again. Stevie therefore felt safe pretending they'd hit it off to get her friends off her back. When Iris's continued restlessness lands her in an audition for Adri's fundraiser play that she also talked Stevie into performing in, this turns into a full-blown fake dating trope. These books continue to be impossible to put down. I'm not sure what Blake is doing to make the pacing so perfect, but as with the previous books of the series I found this utterly compulsive reading. I started it in the afternoon, took a break in the evening for a few hours, and then finished it at 2am. I wasn't sure if a book focused on Iris would work as well, but I need not have worried. Iris Kelly Doesn't Date is both more dramatic and more trope-centered than the earlier books, but Blake handles that in a way that fits Iris's personality and wasn't annoying even to a reader like me, who has an aversion to many types of relationship drama. The secret is Stevie, and specifically having the other protagonist be someone with severe anxiety.

No was never a very easy word for Stevie when it came to Adri, when it came to anyone, really. She could handle the little stuff do you want a soda, have you seen this movie, do you like onions on your pizza but the big stuff, the stuff that caused disappointed expressions and down-turned mouths... yeah, she sucked at that part. Her anxiety would flare, and she'd spend the next week convinced her friends hated her, she'd die alone and miserable, and wasn't worth a damn to anyone. Then, when said friend or family member eventually got ahold of her to tell her that, no, of course they didn't hate her, why in the world would she think that, her anxiety would crest once again, convincing her that she was terrible at understanding people and could never trust her own brain to make heads or tails of any social situation.

This is a spot-on description of a particular type of anxiety, but also this is the perfect protagonist to pair with Iris. Throughout the series, Iris has always been the ride-or-die friend, the person who may have no idea how to help but who will show up anyway and at least try to distract you. Stevie's anxiety makes Iris feel protective, which reveals one of the best sides of Iris's personality, and then the protectiveness plays off against Iris's own relationship issues and tendency to avoid taking anything too seriously. It's one of those relationships that starts a bit one-sided and then becomes mutually supporting once Stevie gets her feet under her. That's a relationship pattern I really enjoy reading about. As with the rest of the series, the friendship dynamics are great. Here we get to see two friend groups at work: Iris's, which we've seen in the previous two volumes and which expanded interestingly in Astrid Parker Doesn't Fail, and Stevie's, which is new. I liked all of these people, even Adri in her own way (although she's the hardest to like). The previous happily-ever-afters do get a bit awkward here, but Blake tries to make that part of the plot and also avoids most of the problem of somewhat-boring romantic bliss by spreading the friendship connections a bit wider. Stevie's friend group formed at orientation at Reed College, and that let me put my finger on another property of this series: essentially all of the characters are from a very specific social class. They're nearly all arts people (bookstore owner, photographer, interior decorator, actress, writer, director), they've mostly gone to college, and while most of them don't have lots of money, there's always at least one person in each friend group with significant wealth. Jordan, from the previous book, is a bit of an exception since she works in a trade (a carpenter), but she still acts like someone from that same social class. It's a bit like reading Jane Austen novels and realizing that the protagonists are drawn from a very specific and very narrow portion of society. This is not a complaint, to be clear; I have no objections to reading about a very specific social class. But if one has already read lots of books about this class of people, I could see that diminishing the appeal of this series a bit. There are a lot of assumptions baked into the story that aren't really questioned, such as the ubiquity of therapists. (I don't know how Stevie affords one on a barista salary.) There are also some small things in the terminology (therapy speak, for example) and in the specific type of earnestness with which the books attempt to be diverse on most axes other than social class that I suspect may grate a bit for some readers. If that's you, this is your warning. There is a third-act breakup here, just like the previous volumes. There is also a defense of the emotional punch of third-act breakups in romance novels in the book itself, put into Iris's internal monologue, so I suspect that's the author's answer to critics like myself who don't like the trope. I was less frustrated by this one because it fit the drama level of the protagonists, but I'll also know to expect a third-act breakup in any Blake novel I read in the future. But, all that said, the summary once again is that I loved this book and could not put it down. Iris is dramatic and occasionally self-destructive but has a core of earnest empathy that makes her easy to like. She's exactly the sort of extrovert who is soothing to introverts rather than draining because she carries the extrovert load of social situations. Stevie is adorably earnest and thoughtful beneath her anxiety. They two of them are wildly different and yet remarkably good together, and I loved reading their story. Highly recommended, along with the whole series. Start with Delilah Green Doesn't Care; if you like that, you're in for a treat. Content note: This book is also rather sex-forward and pretty explicit in the sex scenes, maybe a touch more than Astrid Parker Doesn't Fail. If that is or is not your thing in romance novels, be aware going in. Rating: 9 out of 10

Review: Finders, by Melissa Scott

Series:	Firstborn, Lastborn #1
Publisher:	Candlemark & Gleam
Copyright:	2018
ISBN:	1-936460-87-4
Format:	Kindle
Pages:	409

Finders is a far future science fiction novel with cyberpunk vibes. It is the first of a series, but the second (and, so far, only other) book of the series is a prequel. It stands alone reasonably well (more on that later). Cassilde Sam is a salvor. That means she specializes in exploring ancient wrecks and ruins left behind by the Ancients and salvaging materials that can be reused. The most important of those are what are called Ancestral elements: BLUE, which can hold programming; GOLD, which which reacts to BLUE instructions; RED, which produces actions or output; and GREEN, the rarest and most valuable, which powers everything else. Cassilde and her partner Dai Winter file claims on newly-discovered or incompletely salvaged Ancestor sites and then extract elemental material and anything else of value in their small salvage ship. Cassilde is also dying. She has Lightman's, an incurable degenerative disease that can only be treated with ever-increasing quantities of GREEN. It's hard to sleep, hard to get warm, hard to breathe, and eventually she'll run out of money to pay for the GREEN and she'll die. To push that day off into the future, she and Dai need work. The good news is that the wreckage of a new Ancestor sky palace was discovered in a long orbit and will create enough salvage work for every experienced salvor in the system. The bad news is that they're not qualified to bid on it. They need a scholar with a class-one license to bid on the best sections, and they haven't had a reliable scholar since their former partner and lover Summerland Ashe picked the opposite side in the Troubles and left the Fringe for the Entente, the more densely settled and connected portion of human space. But, unexpectedly and suspiciously, Ashe may be back and offering to work with them again. So, first, I love this setting. This is far from the first SF novel that is set in the aftermath of a general collapse of human civilization and revolving around discovering lost mysteries. Most examples of that genre are post-apocalyptic novels limited to Earth or the local solar system, but Kate Elliott's Unconquerable Sun comes immediately to mind. It's also not the first space archaeology series I've read; Kristine Kathyrn Rusch's story series starting with "Diving into the Wreck" also came to mind. But I don't recall the last time I've seen the author sell the setting so effectively. This is a world with starships and spaceports and clearly advanced technology, but it feels like a post-collapse society that's built on ruins. It's not just that technology runs on half-understood Ancestral elements and states fight over control of debris fields. It's also that the society repurposes Ancestral remnants in ways that both they and the reader know weren't originally intended, and that sometimes are more ingenious or efficient than how the Ancestors probably used them. There's a creative grittiness here that reminds me of good cyberpunk. It's not just good atmospheric writing, though. Scott makes a world-building decision that is going to sound trivial when I say it, but that has brilliant implications for the rest of the setting. There was not just one collapse; there were two. The Ancestor civilization, presumed to be the first human civilization, has passed into myth, quite literally when it comes to the stories around its downfall in the aftermath of a war against AIs. After the Ancestors came the Successors, who followed a similar salvage and rebuild approach and got as far as inventing their own warp drive technology that was based on but different than the Ancestor technology. Then they also collapsed, leaving their adapted technology and salvage operations layered over Ancestor sites. Cassilde's civilization is the third human starfaring civilization, and it is very specifically the third, neither the second nor one of dozens. This has so many small but effective implications that improve this story. A fall happened twice, so it feels like a pattern that makes Cassilde's civilization paranoid, but it happened for two very different reasons, so there is room to argue against it being a pattern. Salvage is harder because of the layering of Ancestor and Successor activity. Successors had their own way of controlling technology that is not accessible to Cassilde and her crew but is also not how the technology was intended to be used, which sends small ripples of interesting complexity through the background. And salvors are competing not only against each other but also against Successor salvage operations for which they have fragmentary records. It's a beautifully effective touch. Melissa Scott has been publishing science fiction for forty years, and it shows in this book. The protagonists are older characters: established professionals with resource problems but also social connections and an earned reputation, people who are trying to do a job and live their lives, not change the world. The writing is competent, deft, and atmospheric, with the confidence of long practice, but it also has the feel of an earlier era of science fiction. I mentioned the cyberpunk influence, which shows in the grittiness of the descriptions, the marginality of the characters in society, and the background theme of repurposing and reusing technology in unintended ways. This is the sort of book that feels solidly in the center of science fiction, without the genre mixing into either fantasy or romance that has become somewhat more common, and also without the dramatics of space opera (although the reader discovers that the stakes of this novel may be higher than anyone realized). And yet, so much of this book is about navigating a complicated romantic relationship, and that's where the story structure felt a bit odd. Cassilde, Dai, and Ashe were a polyamorous triad (polyamory also shows up in Scott's excellent Roads of Heaven series), and much of the first third of the book deals with the fracturing of trust with Ashe and their renegotiation of that relationship given his return. This is refreshingly written as the thoughtful interaction of three adults who take issues of trust seriously, but that also means it's much less dramatic than it sounds, and that means this book starts exceptionally slow. Scott is going somewhere, and the slow build became engrossing around the midpoint of the book, but I had to fight to stick with it at the start. About 80% of the way through this book, I had no idea how Scott was going to wrap things up in the pages remaining and was bracing myself for some sort of series cliffhanger. This is not what happens; the plot is not fully resolved in every detail, but it reaches a conclusion of sorts that does not mandate a sequel. I did think the end was a little bit unsatisfying, though, and I want another book that explores the implications of the ending. I think it would have to be a much different book, and the tonal shift might be stark. I've had this book on my to-read list for a while and kept putting it off because I wasn't sure I was in the mood for something precarious and gritty. This turned out to be an accurate worry: this is literally a book about salvaging the pieces of something full of wonders inextricably connected to dangers. You have to be in a cyberpunk sort of mood. But I've never read a bad Melissa Scott book, and this is no exception. The simplicity and ALL-CAPSNESS of the Ancestral elements grated a bit, but apart from that, the world-building is exceptional and well worth the trip. Recommended, although be warned that, if you're like me, it may not grab you from the first page. Followed by Fallen, but that book is a prequel that does not share any protagonists. Content notes: disability and degenerative illness in a universe where magical cures are possible, so be warned if that specific thematic combination is not what you're looking for. Rating: 7 out of 10

I haven't made one of these posts since... last year? Good lord. I've therefore already read and reviewed a lot of these books. Kemi Ashing-Giwa The Splinter in the Sky (sff)
Moniquill Blackgoose To Shape a Dragon's Breath (sff)
Ashley Herring Blake Delilah Green Doesn't Care (romance)
Ashley Herring Blake Astrid Parker Doesn't Fail (romance)
Ashley Herring Blake Iris Kelly Doesn't Date (romance)
Molly J. Bragg Scatter (sff)
Sarah Rees Breenan Long Live Evil (sff)
Michelle Browne And the Stars Will Sing (sff)
Steven Brust Lyorn (sff)
Miles Cameron Beyond the Fringe (sff)
Miles Cameron Deep Black (sff)
Haley Cass Those Who Wait (romance)
Sylvie Cathrall A Letter to the Luminous Deep (sff)
Ta-Nehisi Coates The Message (non-fiction)
Julie E. Czerneda To Each This World (sff)
Brigid Delaney Reasons Not to Worry (non-fiction)
Mar Delaney Moose Madness (sff)
Jerusalem Demsas On the Housing Crisis (non-fiction)
Michelle Diener Dark Horse (sff)
Michelle Diener Dark Deeds (sff)
Michelle Diener Dark Minds (sff)
Michelle Diener Dark Matters (sff)
Elaine Gallagher Unexploded Remnants (sff)
Bethany Jacobs These Burning Stars (sff)
Bethany Jacobs On Vicious Worlds (sff)
Micaiah Johnson Those Beyond the Wall (sff)
T. Kingfisher Paladin's Faith (sff)
T.J. Klune Somewhere Beyond the Sea (sff)
Mark Lawrence The Book That Wouldn't Burn (sff)
Mark Lawrence The Book That Broke the World (sff)
Mark Lawrence Overdue (sff)
Mark Lawrence Returns (sff collection)
Malinda Lo Last Night at the Telegraph Club (historical)
Jessie Mihalik Hunt the Stars (sff)
Samantha Mills The Wings Upon Her Back (sff)
Lyda Morehouse Welcome to Boy.net (sff)
Cal Newport Slow Productivity (non-fiction)
Naomi Novik Buried Deep and Other Stories (sff collection)
Claire O'Dell The Hound of Justice (sff)
Keanu Reeves & China Mi ville The Book of Elsewhere (sff)
Kit Rocha Beyond Temptation (sff)
Kit Rocha Beyond Jealousy (sff)
Kit Rocha Beyond Solitude (sff)
Kit Rocha Beyond Addiction (sff)
Kit Rocha Beyond Possession (sff)
Kit Rocha Beyond Innocence (sff)
Kit Rocha Beyond Ruin (sff)
Kit Rocha Beyond Ecstasy (sff)
Kit Rocha Beyond Surrender (sff)
Kit Rocha Consort of Fire (sff)
Geoff Ryman HIM (sff)
Melissa Scott Finders (sff)
Rob Wilkins Terry Pratchett: A Life with Footnotes (non-fiction)
Gabrielle Zevin Tomorrow, and Tomorrow, and Tomorrow (mainstream)
That's a lot of books, although I think I've already read maybe a third of them? Which is better than I usually do.