Search Results: "tchet"

16 March 2026

Jonathan Dowland: My Prusa Mini+ is broken

my prints kept turning into gunge my prints kept turning into gunge
View of heatblock, with snapped nozzle View of heatblock, with snapped nozzle
Oh dear! I've been suffering print reliability issues on my Prusa Mini+ for quite a while, roughly since they introduced Input Shaping (although that might not be the culprit). Whilst trying different things to resolve it, I managed to sheer off the brass nozzle within the heatblock. I now have half the nozzle stuck in the ratchet spanner, and half in the heatblock. What to do next? I can try and get the nozzle out of the heatblock, by screwing something into it or using an extraction screw. I've been warned this could be messy and dangerous. Less risky might be to change out the whole heatblock. They don't seem to be expensive. Back in FOSDEM I asked the Prusa folks what cool projects I could do with the Mini+ they looked a little blank (I think the Mini+ is now a somewhat forgotten product) but they did say somebody had managed to port over the "Nextruder" from the more recent Prusa XL/MK4. I could take a look at that. Another thing I've always wanted to explore (although I had intended it to be temporary/reversible) was converting it into a plotter, for plotter art. Somehow this is my first 3d printing blog post in over a year. The printables.com feed I linked to is still going, I'm happy to report (as is the one I wrote but didn't publish, slightly more surprisingly)

28 November 2025

Clint Adams: monkeying around bitrot

One of the servers to which I SSH ratcheted up its public key requirements and thus the Monkeysphere key I've been using for 15 years stopped working. Unfortunately, monkeysphere gen-subkey hardcodes RSA keys and if I'm going to be forced to use a new subkey I want mine to be of the 25519 variety. Therefore, to add a subkey by hand: gpg --expert --edit-key $KEYID Follow roughly what's in /usr/share/monkeysphere/m/gen_subkey, but change the key type to 11 (ECC (set your own capabilities)), don't bother with Encrypt capability, and pick Curve25519. monkeysphere subkey-to-ssh-agent and agent-transfer will be all happy with the "ed25519" subkey without any code modifications, and you won't need to rewrite monkeysphere from scratch to use Sequoia for the next 15 years.
Posted on 2025-11-28
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16 November 2025

Russ Allbery: Cumulative haul

I haven't posted a book haul in forever, so lots of stuff stacked up, including a new translation of Bambi that I really should get around to reading. Nicholas & Olivia Atwater A Matter of Execution (sff)
Nicholas & Olivia Atwater Echoes of the Imperium (sff)
Travis Baldree Brigands & Breadknives (sff)
Elizabeth Bear The Folded Sky (sff)
Melissa Caruso The Last Hour Between Worlds (sff)
Melissa Caruso The Last Soul Among Wolves (sff)
Haley Cass Forever and a Day (romance)
C.L. Clark Ambessa: Chosen of the Wolf (sff)
C.L. Clark Fate's Bane (sff)
C.L. Clark The Sovereign (sff)
August Clarke Metal from Heaven (sff)
Erin Elkin A Little Vice (sff)
Audrey Faye Alpha (sff)
Emanuele Galletto, et al. Fabula Ultima: Core Rulebook (rpg)
Emanuele Galletto, et al. Fabula Ultima: Atlas High Fantasy (rpg)
Emanuele Galletto, et al. Fabula Ultima: Atlas Techno Fantasy (rpg)
Alix E. Harrow The Everlasting (sff)
Alix E. Harrow Starling House (sff)
Antonia Hodgson The Raven Scholar (sff)
Bel Kaufman Up the Down Staircase (mainstream)
Guy Gavriel Kay All the Seas of the World (sff)
N.K. Jemisin & Jamal Campbell Far Sector (graphic novel)
Mary Robinette Kowal The Martian Conspiracy (sff)
Matthew Kressel Space Trucker Jess (sff)
Mark Lawrence The Book That Held Her Heart (sff)
Yoon Ha Lee Moonstorm (sff)
Michael Lewis (ed.) Who Is Government? (non-fiction)
Aidan Moher Fight, Magic, Items (non-fiction)
Saleha Mohsin Paper Soldiers (non-fiction)
Ada Palmer Inventing the Renaissance (non-fiction)
Suzanne Palmer Driving the Deep (sff)
Suzanne Palmer The Scavenger Door (sff)
Suzanne Palmer Ghostdrift (sff)
Terry Pratchett Where's My Cow (graphic novel)
Felix Salten & Jack Zipes (trans.) The Original Bambi (classic)
L.M. Sagas Cascade Failure (sff)
Jenny Schwartz The House That Walked Between Worlds (sff)
Jenny Schwartz House in Hiding (sff)
Jenny Schwartz The House That Fought (sff)
N.D. Stevenson Scarlet Morning (sff)
Rory Stewart Politics on the Edge (non-fiction)
Emily Tesh The Incandescent (sff)
Brian K. Vaughan & Fiona Staples Saga #1 (graphic novel)
Scott Warren The Dragon's Banker (sff)
Sarah Wynn-Williams Careless People (non-fiction) As usual, I have already read and reviewed a whole bunch of these. More than I had expected, actually, given that I've not had a great reading year this year so far. I am, finally, almost caught up with reviews, with just one book read and not yet reviewed. And hopefully I'll have lots of time to read for the last month and a half of the year.

25 May 2025

Valhalla's Things: Honeycomb shirt

Posted on May 25, 2025
Tags: madeof:atoms, craft:sewing, FreeSoftWear, GNU Terry Pratchett
A woman wearing a purplish blue shirt with very wide sleeves, gathered at the cuffs and shoulder with honeycombing, and also a rectangle of honeycombing in the front between the neckline and just above the bust. The shirt is gathered at the waist with a wide belt, and an almost lilac towel hangs from the belt. After cartridge pleating, the next fabric manipulation technique I wanted to try was smocking, of the honeycombing variety, on a shirt. My current go-to pattern for shirts is the 1880 menswear one I have on my website: I love the fact that most of the fabric is still cut as big rectangles, but the shaped yoke and armscyes make it significantly more comfortable than the earlier style where most of the shaping at the neck was done with gathers into a straight collar. A woman wearing a shirt in the same fabric; this one has a slit in the front, is gathered into a tall rectangular collar and has dropped shoulders because it's cut from plain rectangles. The sleeves are still huge, and gathered into tall cuffs. It is worn belted (with the same wide white elastic belt used in the previous picture) and the woman is wearing a matching fabric mask, because the picture has been taken in 2021. In my stash I had a cut of purple-blue hopefully cotton [#cotton] I had bought for a cheap price and used for my first attempt at an historically accurate pirate / vampire shirt that has now become by official summer vaccine jab / blood test shirt (because it has the long sleeves I need, but they are pretty easy to roll up to give access to my arm. That shirt tends to get out of the washing machine pretty wearable even without ironing, which made me think it could be a good fabric for something that may be somewhat hard to iron (but also made me suspicious about the actual composition of the fabric, even if it feels nice enough even when worn in the summer). A piece of fabric with many rows of honeycombing laid on top of the collar and yoke of the shirt; a metal snap peeks from behind the piece of honeycombed fabric.  There are still basting lines for the armscyes. Of course I wanted some honeycombing on the front, but I was afraid that the slit in the middle of it would interfere with the honeycombing and gape, so I decided to have the shirt open in an horizontal line at the yoke. I added instructions to the pattern page for how I changed the opening in the front, basically it involved finishing the front edge of the yoke, and sewing the honeycombed yoke to a piece of tape with snaps. Another change from the pattern is that I used plain rectangles for the sleeves, and a square gusset, rather than the new style tapered sleeve , because I wanted to have more fabric to gather at the wrist. I did the side and sleeve seams with a hem + whipstitch method rather than a felled seam, which may have helped, but the sleeves went into the fitted armscyes with no issue. I think that if (yeah, right. when) I ll make another sleeve in this style I ll sew it into the side seam starting 2-3 cm lower than the place I ve marked on the pattern for the original sleeve. The back of the unbelted shirt: it has a fitted yoke, and then it is quite wide and unfitted, with the fabric gathered into the yoke with a row of honeycombing and some pleating on top. I also used a row of honeycombing on the back and two on the upper part of the sleeves, instead of the gathering, and of course some rows to gather the cuffs. The honeycombing on the back was a bit too far away from the edge, so it s a bit of an odd combination of honeycombing and pleating that I don t hate, but don t love either. It s on the back, so I don t mind. On the sleeves I ve done the honeycombing closer to the edge and I ve decided to sew the sleeve as if it was a cartridge pleated sleeve, and that worked better. Because circumstances are still making access to my sewing machine more of a hassle than I d want it to be, this was completely sewn by hand, and at a bit more than a month I have to admit that near the end it felt like it had been taken forever. I m not sure whether it was the actual sewing being slow, some interruptions that happened when I had little time to work on it, or the fact that I ve just gone through a time when my brain kept throwing new projects at me, and I kept thinking of how to make those. Thanks brain. Even when on a hurry to finish it, however, it was still enjoyable sewing, and I think I ll want to do more honeycombing in the future. The same woman with arms wide to show the big sleeves and the shirt unbelted to show that it is pretty wide also from the front, below the yoke and the honeycombing. The back can be seen as about 10 cm longer than the front. Anyway, it s done! And it s going straight into my daily garment rotation, because the weather is getting hot, and that means it s definitely shirt time.

14 May 2025

Jonathan Dowland: Orbital

Orbital at NX, Newcastle in 2023 Orbital at NX, Newcastle in 2023
I'm on a bit of an Orbital kick at the moment. Last year they re-issued their 1991 debut album with 43 extra tracks. Later this month they're doing the same for their 1993 sophomore album. I thought I'd try to narrow down some tracks to recommend. I seem to have settled on roughly 5 in previous posts (for Underworld, The Cure, Coil and Gazelle Twin). This time I've done 6 (I borrowed one from Underworld) As always it's a hard choice. I've tried to select some tracks I really enjoy that don't often come up on best-of compilation albums. For a more conventional choice of best-of tracks, I recommend the recent-ish 30 something "compilation" (of sorts, previously written about)
  1. The Naked and the Dead (1992) The Naked and the Dead by Orbital From an early EP Radiccio, which is being re-issued this month. Digital versions of the re-issue will feature a new recording "Deepest" featuring Tilda Swinton. Sadly this isn't making it onto the pressed version. She performed with them live at Glastonbury 2024. That entire performance was a real pick-me-up during my convolescence, and is recommended. Anyway I've now written more about a song I haven't recommended than the one I did
  2. Remind (1993) Remind by Orbital From the Brown Album, I first heard this as the Encore from their "final show", for John Peel, when they split up in 2004. "Remind" wasn't broadcast, but an audience recording was circulated on fan site Loopz. Remarkably, 21 years on, it's still there. In writing this I discovered that it's a re-working of a remix Orbital did for Meat Beat Manifesto: MindStream (Mind The Bend The Mind)
  3. You Lot (2004) From the unfairly-maligned "final" Blue album. Featuring a sample of pre-Doctor Who Christoper Eccleston, from another Russell T Davies production, Second Coming.
  4. Beached (2000) Beached (Long version) by Orbital, Angelo Badalamenti Co-written by Angelo Badalamenti, it's built around a sample of Badalamenti's score for the movie "The Beach". Orbital's re-work adds some grit to the orchestral instrumentation and opens with a monologue, delivered by Leonardo Di Caprio, sampled from the movie.
  5. Spare Parts Express (1999) Spare Parts Express by Orbital Critics had started to be quite unfair to Orbital by this point. The band themselves said that they'd ran out of ideas (pointing at album closer "Style", built around a Stylophone melody, as proof). Their malaise continued right up to the Blue Album, at which point the split up; ostensibly for good, before regrouping 8 years later. Spare Parts Express is a hatchet job of various bits that they didn't develop into full songs on their own. Despite this I think it works. I love long-form electronica, and this clocks in at 10:07. My favourite segment (06:37) is adjacent to a reference (05:05) to John Baker's theme for the BBC children's program Newsround (sadly they aren't using it today. Here's a rundown of Newsround themes over time)
  6. Attached (1994) Attached by Orbital This originally debuted on a Peel session before appearing on the subsequent album Snivilisation a few months later. An album closer, and a good come-down song to close this list.

1 January 2025

Russ Allbery: 2024 Book Reading in Review

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.

10 December 2024

Russ Allbery: 2024 book haul

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.

31 August 2024

Russ Allbery: Review: The Shepherd's Crown

Review: The Shepherd's Crown, by Terry Pratchett
Series: Discworld #41
Publisher: Harper
Copyright: 2015
Printing: 2016
ISBN: 0-06-242998-1
Format: Trade paperback
Pages: 276
The Shepherd's Crown is the 41st and final Discworld novel and the 5th and final Tiffany Aching novel. You should not start here. There is a pretty major character event in the second chapter of this book. I'm not going to say directly what it is, but you will likely be able to guess from the rest of the review. If you're particularly adverse to spoilers, you may want to skip reading this until you've read the book. Tiffany Aching is extremely busy. Witches are responsible for all the little tasks that fall between the cracks, and there are a lot of cracks. The better she gets at her job, the more of the job there seems to be.
"Well," said Tiffany, "there's too much to be done and not enough people to do it." The smile that the kelda gave her was a strange one. The little woman said, "Do ye let them try? Ye mustn't be afraid to ask for help. Pride is a good thing, my girl, but it will kill you in time."
And that's before an earth-shattering change in the world of witches, one that leaves Tiffany shuttling between Lancre and the Chalk trying to be too many things to too many people. Plus the kelda is worried some deeper trouble is brewing. And then Tiffany gets an exiled elven queen who has never understood the worth of other people dumped on her, and has to figure out what to do with her. The starting idea is great. I continue to be impressed with how well Pratchett handles Tiffany's coming-of-age story. Finding one's place in the world isn't one lesson or event; it's layers of them, with each new growth in responsibility uncovering new things to learn that are often quite different from the previous problems. Tiffany has worked through child problems, adolescent problems, and new adulthood problems. Now she's on a course towards burnout, which is exactly the kind of problem Tiffany would have given her personality. Even better, the writing at the start of The Shepherd's Crown is tight and controlled and sounds like Pratchett, which was a relief after the mess of Raising Steam. The contrast is so sharp that I found myself wondering if parts of this book had been written earlier, or if Pratchett found a new writing or editing method. The characters all sound like themselves, and although some of the turns of phrase are not quite as sharp as in earlier books, they're at least at the level of Snuff. Unfortunately, it doesn't last. There are some great moments and some good quotes, but the writing starts to slip at about the two-thirds point, the sentences began to meander, the characters start repeating the name of the person they're talking to, and the narration becomes increasingly strained. It felt like Pratchett knew the emotional tone he wanted to evoke but couldn't find a subtle way to express it, so the story and the characters start to bludgeon the reader with Grand Statements. It's never as bad as Raising Steam, but it doesn't slip smoothly off the page to rewrite your brain the way that Pratchett could at his best. What makes this worse is that the plot is not very interesting. I wanted to read a book about Tiffany understanding burnout, asking for help, and possibly also about mental load and how difficult delegation is. There is some movement in that direction: she takes on some apprentices, although we don't see as much of her interactions with them as I'd like, and there's an intriguing new male character who wants to be a witch. I wish Pratchett had been able to give Geoffrey his own book. He and his goat were the best part of the story, but it felt rushed and I think he would have had more impact if the reader got to see him develop his skills over time the way that we did with Tiffany. But, alas, all of that is side story to the main plot, which is about elves. As you may know from previous reviews, I do not get along with Pratchett's conception of elves. I find them boring and too obviously evil, and have since Lords and Ladies. Villains have never been one of Pratchett's strengths, and I think his elves are my least favorite. One of the goals of this book is to try to make them less one-note by having Tiffany try to teach one of them empathy, but I didn't find any of the queen's story arc convincing. If Pratchett had pulled those threads together with something more subtle, emotional, and subversive, I think it could have worked, but instead we got another battle royale, and Lords and Ladies did that better.
"Granny never said as she was better than others. She just got on with it and showed 'em and people worked it out for themselves."
And so we come to the end. I wish I could say that the quality held up through the whole series, and it nearly did, but alas it fell apart a bit at the end. Raising Steam I would skip entirely. The Shepherd's Crown is not that bad, but it's minor Pratchett that's worth reading mainly because it's the send-off (and there are a lot of reasons within the story to think Pratchett knew that when writing it). There are a few great lines, some catharsis, and a pretty solid ending for Tiffany, but it's probably not a book that I'll re-read. Content warning: major character death. Special thanks to Emmet Asher-Perrin, whose Tor.com/Reactor re-read of all of Discworld got me to pick the series up again and finally commit to reading all of it. I'm very glad I did. Rating: 6 out of 10

9 July 2024

Russ Allbery: Review: Raising Steam

Review: Raising Steam, by Terry Pratchett
Series: Discworld #40
Publisher: Anchor Books
Copyright: 2013
Printing: October 2014
ISBN: 0-8041-6920-9
Format: Trade paperback
Pages: 365
Raising Steam is the 40th Discworld novel and the third Moist von Lipwig novel, following Making Money. This is not a good place to start reading the series. Dick Simnel is a tinkerer from a line of tinkerers. He has been obsessed with mastering the power of steam since the age of ten, when his father died in a steam accident. That pursuit took him deeper into mathematics and precision, calculations and experiments, until he built Iron Girder: Discworld's first steam-powered locomotive. His early funding came from some convenient family pirate treasure, but turning his prototype into something more will require significantly more resources. That is how he ends up in the office of Harry King, Ankh-Morpork's sanitation magnate. Simnel's steam locomotive has the potential to solve some obvious logistical problems, such as getting fish from the docks of Quirm to the streets of Ankh-Morpork before it stops being vaguely edible. That's not what makes railways catch fire, however. As soon as Iron Girder is huffing and puffing its way around King's compound, it becomes the most popular attraction in the city. People stand in line for hours to ride it over and over again for reasons that they cannot entirely explain. There is something wild and uncontrollable going on. Vetinari is not sure he likes wild and uncontrollable, but he knows the lap into which such problems can be dumped: Moist von Lipwig, who is already getting bored with being a figurehead for the city's banking system. The setup for Raising Steam reminds me more of Moving Pictures than the other Moist von Lipwig novels. Simnel himself is a relentlessly practical engineer, but the trains themselves have tapped some sort of primal magic. Unlike Moving Pictures, Pratchett doesn't provide an explicit fantasy explanation involving intruding powers from another world. It might have been a more interesting book if he had. Instead, this book expects the reader to believe there is something inherently appealing and fascinating about trains, without providing much logic or underlying justification. I think some readers will be willing to go along with this, and others (myself included) will be left wishing the story had more world-building and fewer exclamation points. That's not the real problem with this book, though. Sadly, its true downfall is that Pratchett's writing ability had almost completely collapsed by the time he wrote it. As mentioned in my review of Snuff, we're now well into the period where Pratchett was suffering the effects of early-onset Alzheimer's. In that book, his health issues mostly affected the dialogue near the end of the novel. In this book, published two years later, it's pervasive and much worse. Here's a typical passage from early in the book:
It is said that a soft answer turneth away wrath, but this assertion has a lot to do with hope and was now turning out to be patently inaccurate, since even a well-spoken and thoughtful soft answer could actually drive the wrong kind of person into a state of fury if wrath was what they had in mind, and that was the state the elderly dwarf was now enjoying.
One of the best things about Discworld is Pratchett's ability to drop unexpected bits of wisdom in a sentence or two, or twist a verbal knife in an unexpected and surprising direction. Raising Steam still shows flashes of that ability, but it's buried in run-on sentences, drowned in cliches and repetition, and often left behind as the containing sentence meanders off into the weeds and sputters to a confused halt. The idea is still there; the delivery, sadly, is not. This is the first Discworld novel that I found mentally taxing to read. Sentences are often so overpacked that they require real effort to untangle, and the untangled meaning rarely feels worth the effort. The individual voice of the characters is almost gone. Vetinari's monologues, rather than being a rare event with dangerous layers, are frequent, rambling, and indecisive, often sounding like an entirely different character than the Vetinari we know. The constant repetition of the name any given character is speaking to was impossible for me to ignore. And the momentum of the story feels wrong; rather than constructing the events of the story in a way that sweeps the reader along, it felt like Pratchett was constantly pushing, trying to convince the reader that trains were the most exciting thing to ever happen to Discworld. The bones of a good story are here, including further development of dwarf politics from The Fifth Elephant and Thud! and the further fallout of the events of Snuff. There are also glimmers of Pratchett's typically sharp observations and turns of phrase that could have been unearthed and polished. But at the very least this book needed way more editing and a lot of rewriting. I suspect it could have dropped thirty pages just by tightening the dialogue and removing some of the repetition. I'm afraid I did not enjoy this. I am a bit of a hard sell for the magic fascination of trains I love trains, but my model railroad days are behind me and I'm now more interested in them as part of urban transportation policy. Previous Discworld books on technology and social systems did more of the work of drawing the reader in, providing character hooks and additional complexity, and building a firmer foundation than "trains are awesome." The main problem, though, was the quality of the writing, particularly when compared to the previous novels with the same characters. I dragged myself through this book out of a sense of completionism and obligation, and was relieved when I finished it. This is the first Discworld novel that I don't recommend. I think the only reason to read it is if you want to have read all of Discworld. Otherwise, consider stopping with Snuff and letting it be the send-off for the Ankh-Morpork characters. Followed by The Shepherd's Crown, a Tiffany Aching story and the last Discworld novel. Rating: 3 out of 10

1 July 2024

Russ Allbery: Review: Snuff

Review: Snuff, by Terry Pratchett
Series: Discworld #39
Publisher: Harper
Copyright: October 2011
Printing: January 2013
ISBN: 0-06-221886-7
Format: Mass market
Pages: 470
Snuff is the 39th Discworld novel and the 8th (and last) Watch novel. This is not a good place to start reading. Sam Vines has been talked, cajoled, and coerced into taking a vacation. Since he is now the Duke of Ankh, he has a country estate that he's never visited. Lady Sybil is insistent on remedying this, as is Vetinari. Both of them may have ulterior motives. They may also be colluding. It does not take long for Vimes to realize that something is amiss in the countryside. It's not that the servants are uncomfortable with him talking to them, the senior servants are annoyed that he talks to the wrong servants, and the maids turn to face the wall at the sight of him. Those are just the strange customs of the aristocracy, for which he has little understanding and even less patience. There's something else going on. The nobility is wary, the town blacksmith is angry about something more than disliking the nobles, and the bartender doesn't want to get involved. Vimes smells something suspicious. When he's framed for a murder, the suspicions seem justified. It takes some time before the reader learns what the local nobility are squirming about, so I won't spoil it. What I will say is that Snuff is Pratchett hammering away at one of his favorite targets: prejudice, cruelty, and treating people like things. Vimes, with his uncompromising morality, is one of the first to realize the depth of the problem. It takes most of the rest longer to come around, even Sybil. It's both painful, and painfully accurate, to contemplate how often recognition of other people's worth only comes once they do something that you recognize as valuable. This is one of the better-plotted Discworld novels. Vimes starts out with nothing but suspicions and stubbornness, and manages to turn Snuff into a mystery novel through dogged persistence. The story is one continuous plot arc with the normal Pratchett color (Young Sam's obsession with types of poo, for example) but without extended digressions. It also has considerably better villains than most Pratchett novels: layers of foot soldiers and plotters, each of which have to be dealt with in a suitable way. Even the concluding action sequences worked for me, which is not always a given in Discworld. The problem, unfortunately, is that the writing is getting a bit wobbly. Pratchett died of early-onset Alzheimer's in 2015, four years after this book was first published, and this is the first novel where I can see some early effects. It mostly shows up in the dialogue: it's just a bit flabby and a bit repetitive, and the characters, particularly towards the end of the book, start repeating the name of the person they're talking to every other line. Once I saw it, I couldn't unsee it, and it was annoying enough to rob a bit of enjoyment from the end of the book. That aside, though, this was a solid Discworld novel. Vimes testing his moral certainty against the world and forcing it into a more ethical shape is always rewarding, and here he takes more risks, with better justification, than in most of the Watch novels. We also find out that Vimes has a legacy from the events of Thud!, which has interesting implications that I wish Pratchett had more time to explore. I think the best part of this book is how it models the process of social change through archetypes: the campaigner who knew the right choice early on, the person who formed their opinion the first time they saw injustice, the person who gets there through a more explicit moral code, the ones who have to be pushed by someone who was a bit faster, the ones who have to be convinced but then work to convince others, and of course the person who is willing to take on the unfair and far-too-heavy burden of being exceptional enough that they can be used as a tool to force other people to acknowledge them as a person. And, since this is Discworld, Vetinari is lurking in the scenery pulling strings, balancing threats, navigating politics, and giving Vimes just enough leeway to try to change the world without abusing his power. I love that the amount of leeway Vimes gets depends on how egregious the offense is, and Vetinari calibrates this quite carefully without ever saying so openly. Recommended, and as much as I don't want to see this series end, this is not a bad entry for the Watch novels to end on. Followed in publication order by Raising Steam. Rating: 8 out of 10

1 June 2024

Russ Allbery: Review: I Shall Wear Midnight

Review: I Shall Wear Midnight, by Terry Pratchett
Series: Discworld #38
Publisher: Harper
Copyright: 2010
Printing: 2011
ISBN: 0-06-143306-3
Format: Trade paperback
Pages: 355
I Shall Wear Midnight is the 38th Discworld novel and the 4th Tiffany Aching novel. This is not a good place to start reading. Tiffany has finished her training and has returned to her home on the Chalk, taking up her duties as the local witch. There are a lot of those, because there's a lot that needs doing. In some cases, such as taking away the pain of the old Duke, they involve things that require magic and that only Tiffany can do. In many other cases, other people could pick up some of the work, but they lack Tiffany's sense of duty and willingness to pay attention. The people of the Chalk have always been a bit suspicious of witches, in part because the job was done for so long by Tiffany's grandmother and no one thought she was a witch. (She was a witch.) Of late, however, that suspicion seems to be getting worse. It comes to a head when Tiffany is accused of theft and worse by the old Duke's maid, a woman with very fixed ideas about the evils of witches. Tiffany has to sort out what's going on and clear herself, all while navigating her now-awkward relationship with the Duke's son Roland, his unimpressive fiancee, and his spectacularly annoying aunt. Ah, this is the stuff. This is exactly the Tiffany Aching novel that I have been hoping Pratchett would write. It's pure, snarky competence porn from start to finish.
"I'm a witch. It's what we do. When it's nobody else's business, it's my business."
One of the things that I adore about this series is how well Pratchett shows the different ways in which one can be a witch. Granny Weatherwax out-thinks everyone and nudges (or shoves) people in the right direction, but her natural tendency is to be icy and a bit frightening. Nanny Ogg is that person you can't help but talk to, who may seem happy-go-lucky and hedonistic but who can effortlessly change the mood of a room. And Tiffany is stubborn duty and blunt practicality, which fits the daughter of shepherds. In previous books, we've watched Tiffany as a student, learning the practicalities of being a witch. This is the book where she realizes how much she knows and how much easier the world is to navigate when she's in her own territory. There is a wonderful scene, late in this book, where Pratchett shows Nanny Ogg at her best, doing the kinds of things that only Nanny Ogg can do. Both Tiffany and the reader are in awe.
I should have learned this, she thought. I wanted to learn fire, and pain, but I should have learned people.
And it's true that Nanny Ogg can do things that Tiffany can't. But what makes this book so great is that it shows how Tiffany's personality and her training come together with her knowledge of the Chalk. She may not know people, in general, but she knows her neighbors and how they think. She doesn't manage them the way that Nanny Ogg would; she's better at solving different kinds of problems, in different ways. But they're the right ways, and the right problems, for her home. This is another Discworld novel with a forgettable villain that's more of a malevolent force of nature than a character in its own right. It's also another Discworld novel where Pratchett externalizes a human tendency into a malevolent force that can possess people. I have mixed feelings about this narrative approach. That externalization of evil into (in essence) demons has been repeatedly used to squirm out of responsibility and excuse atrocities, and it neatly avoids having to wrestle with the hard questions of prejudice and injustice and why apparently good people do awful things. I think some of those weaknesses persist even in Pratchett's hands, but I think what he was attempting with that approach in this book is to show how almost no one is immune to nastier ideas that spread through society. Rather than using the externalization of evil as an excuse, he's using it as a warning. With enough exposure to those ideas, they start sounding tempting and partly credible even to people who would never have embraced them earlier. Pratchett also does a good job capturing the way prejudice can start from thoughtless actions that have more to do with the specific circumstances of someone's life than any coherent strategy. Still, the one major complaint I have about this book is that the externalization of evil is an inaccurate portrayal of the world, and this catches up with Pratchett at the ending. Postulating an external malevolent force reduces evil to something that can be puzzled out and decisively defeated, thus resolving the problem. Sadly, this is not how humans actually work. I'll forgive that structural flaw, though, because the rest of this book is so good. It's rare that a plot twist in a Discworld novel surprises me twisty plots are not Pratchett's strength but this one did. I will not spoil the surprise, but one of the characters is not quite who they seem to be, and Tiffany's reactions once she figures that out are one of my favorite parts of this book. Pratchett is making a point about assumptions, observation, and the importance of being willing to change one's mind about someone when you know more, and I thought it was very well done. But, most of all, I enjoyed reading about Tiffany being calm, competent, determined, and capable. There's also a bit of an unexpected romance plot that's one of my favorite types: the person who notices that you're doing a lot of work and quietly steps in and starts helping while paying attention to what's needed and not taking over. And it's full of the sort of pithy moral wisdom that makes Discworld such a delight to read.
"There have been times, lately, when I dearly wished that I could change the past. Well, I can't, but I can change the present, so that when it becomes the past it will turn out to be a past worth having."
This was just what I wanted. Highly recommended. Followed by Snuff in publication order. The next (and last, sadly) Tiffany Aching book is The Shepherd's Crown. Rating: 9 out of 10

25 April 2024

Russ Allbery: Review: Nation

Review: Nation, by Terry Pratchett
Publisher: Harper
Copyright: 2008
Printing: 2009
ISBN: 0-06-143303-9
Format: Trade paperback
Pages: 369
Nation is a stand-alone young adult fantasy novel. It was published in the gap between Discworld novels Making Money and Unseen Academicals. Nation starts with a plague. The Russian influenza has ravaged Britain, including the royal family. The next in line to the throne is off on a remote island and must be retrieved and crowned as soon as possible, or an obscure provision in Magna Carta will cause no end of trouble. The Cutty Wren is sent on this mission, carrying the Gentlemen of Last Resort. Then comes the tsunami. In the midst of fire raining from the sky and a wave like no one has ever seen, Captain Roberts tied himself to the wheel of the Sweet Judy and steered it as best he could, straight into an island. The sole survivor of the shipwreck: one Ermintrude Fanshaw, daughter of the governor of some British island possessions. Oh, and a parrot. Mau was on the Boys' Island when the tsunami came, going through his rite of passage into manhood. He was to return to the Nation the next morning and receive his tattoos and his adult soul. He survived in a canoe. No one else in the Nation did. Terry Pratchett considered Nation to be his best book. It is not his best book, at least in my opinion; it's firmly below the top tier of Discworld novels, let alone Night Watch. It is, however, an interesting and enjoyable book that tackles gods and religion with a sledgehammer rather than a knife. It's also very, very dark and utterly depressing at the start, despite a few glimmers of Pratchett's humor. Mau is the main protagonist at first, and the book opens with everyone he cares about dying. This is the place where I thought Pratchett diverged the most from his Discworld style: in Discworld, I think most of that would have been off-screen, but here we follow Mau through the realization, the devastation, the disassociation, the burials at sea, the thoughts of suicide, and the complete upheaval of everything he thought he was or was about to become. I found the start of this book difficult to get through. The immediate transition into potentially tragic misunderstandings between Mau and Daphne (as Ermintrude names herself once there is no one to tell her not to) didn't help. As I got farther into the book, though, I warmed to it. The best parts early on are Daphne's baffled but scientific attempts to understand Mau's culture and her place in it. More survivors arrive, and they start to assemble a community, anchored in large part by Mau's stubborn determination to do what's right even though he's lost all of his moorings. That community eventually re-establishes contact with the rest of the world and the opening plot about the British monarchy, but not before Daphne has been changed profoundly by being part of it. I think Pratchett worked hard at keeping Mau's culture at the center of the story. It's notable that the community that reforms over the course of the book essentially follows the patterns of Mau's lost Nation and incorporates Daphne into it, rather than (as is so often the case) the other way around. The plot itself is fiercely anti-colonial in a way that mostly worked. Still, though, it's a quasi-Pacific-island culture written by a white British man, and I had some qualms. Pratchett quite rightfully makes it clear in the afterward that this is an alternate world and Mau's culture is not a real Pacific island culture. However, that also means that its starkly gender-essentialist nature was a free choice, rather than one based on some specific culture, and I found that choice somewhat off-putting. The religious rituals are all gendered, the dwelling places are gendered, and one's entire life course in Mau's world seems based on binary classification as a man or a woman. Based on Pratchett's other books, I assume this was more an unfortunate default than a deliberate choice, but it's still a choice he could have avoided. The end of this book wrestles directly with the relative worth of Mau's culture versus that of the British. I liked most of this, but the twists that Pratchett adds to avoid the colonialist results we saw in our world stumble partly into the trap of making Mau's culture valuable by British standards. (I'm being a bit vague here to avoid spoilers.) I think it is very hard to base this book on a different set of priorities and still bring the largely UK, US, and western European audience along, so I don't blame Pratchett for failing to do it, but I'm a bit sad that the world still revolved around a British axis. This felt quite similar to Discworld to me in its overall sensibilities, but with the roles of moral philosophy and humor reversed. Discworld novels usually start with some larger-than-life characters and an absurd plot, and then the moral philosophy sneaks up behind you when you're not looking and hits you over the head. Nation starts with the moral philosophy: Mau wrestles with his gods and the problem of evil in a way that reminded me of Job, except with a far different pantheon and rather less tolerance for divine excuses on the part of the protagonist. It's the humor, instead, that sneaks up on you and makes you laugh when the plot is a bit too much. But the mix arrives at much the same place: the absurd hand-in-hand with the profound, and all seen from an angle that makes it a bit easier to understand. I'm not sure I would recommend Nation as a good place to start with Pratchett. I felt like I benefited from having read a lot of Discworld to build up my willingness to trust where Pratchett was going. But it has the quality of writing of late Discworld without the (arguable) need to read 25 books to understand all of the backstory. Regardless, recommended, and you'll never hear Twinkle Twinkle Little Star in quite the same way again. Rating: 8 out of 10

18 April 2024

Russ Allbery: Review: Unseen Academicals

Review: Unseen Academicals, by Terry Pratchett
Series: Discworld #37
Publisher: Harper
Copyright: October 2009
Printing: November 2014
ISBN: 0-06-233500-6
Format: Mass market
Pages: 517
Unseen Academicals is the 37th Discworld novel and includes many of the long-standing Ankh-Morpork cast, but mostly as supporting characters. The main characters are a new (and delightful) bunch with their own concerns. You arguably could start reading here if you really wanted to, although you would risk spoiling several previous books (most notably Thud!) and will miss some references that depend on familiarity with the cast. The Unseen University is, like most institutions of its sort, funded by an endowment that allows the wizards to focus on the pure life of the mind (or the stomach). Much to their dismay, they have just discovered that an endowment that amounts to most of their food budget requires that they field a football team. Glenda runs the night kitchen at the Unseen University. Given the deep and abiding love that wizards have for food, there is both a main kitchen and a night kitchen. The main kitchen is more prestigious, but the night kitchen is responsible for making pies, something that Glenda is quietly but exceptionally good at. Juliet is Glenda's new employee. She is exceptionally beautiful, not very bright, and a working class girl of the Ankh-Morpork streets down to her bones. Trevor Likely is a candle dribbler, responsible for assisting the Candle Knave in refreshing the endless university candles and ensuring that their wax is properly dribbled, although he pushes most of that work off onto the infallibly polite and oddly intelligent Mr. Nutt. Glenda, Trev, and Juliet are the sort of people who populate the great city of Ankh-Morpork. While the people everyone has heard of have political crises, adventures, and book plots, they keep institutions like the Unseen University running. They read romance novels, go to the football games, and nurse long-standing rivalries. They do not expect the high mucky-mucks to enter their world, let alone mess with their game. I approached Unseen Academicals with trepidation because I normally don't get along as well with the Discworld wizard books. I need not have worried; Pratchett realized that the wizards would work better as supporting characters and instead turns the main plot (or at least most of it; more on that later) over to the servants. This was a brilliant decision. The setup of this book is some of the best of Discworld up to this point. Trev is a streetwise rogue with an uncanny knack for kicking around a can that he developed after being forbidden to play football by his dear old mum. He falls for Juliet even though their families support different football teams, so you may think that a Romeo and Juliet spoof is coming. There are a few gestures of one, but Pratchett deftly avoids the pitfalls and predictability and instead makes Juliet one of the best characters in the book by playing directly against type. She is one of the characters that Pratchett is so astonishingly good at, the ones that are so thoroughly themselves that they transcend the stories they're put into. The heart of this book, though, is Glenda.
Glenda enjoyed her job. She didn't have a career; they were for people who could not hold down jobs.
She is the kind of person who knows where she fits in the world and likes what she does and is happy to stay there until she decides something isn't right, and then she changes the world through the power of common sense morality, righteous indignation, and sheer stubborn persistence. Discworld is full of complex and subtle characters fencing with each other, but there are few things I have enjoyed more than Glenda being a determinedly good person. Vetinari of course recognizes and respects (and uses) that inner core immediately. Unfortunately, as great as the setup and characters are, Unseen Academicals falls apart a bit at the end. I was eagerly reading the story, wondering what Pratchett was going to weave out of the stories of these individuals, and then it partly turned into yet another wizard book. Pratchett pulled another of his deus ex machina tricks for the climax in a way that I found unsatisfying and contrary to the tone of the rest of the story, and while the characters do get reasonable endings, it lacked the oomph I was hoping for. Rincewind is as determinedly one-note as ever, the wizards do all the standard wizard things, and the plot just isn't that interesting. I liked Mr. Nutt a great deal in the first part of the book, and I wish he could have kept that edge of enigmatic competence and unflappableness. Pratchett wanted to tell a different story that involved more angst and self-doubt, and while I appreciate that story, I found it less engaging and a bit more melodramatic than I was hoping for. Mr. Nutt's reactions in the last half of the book were believable and fit his background, but that was part of the problem: he slotted back into an archetype that I thought Pratchett was going to twist and upend. Mr. Nutt does, at least, get a fantastic closing line, and as usual there are a lot of great asides and quotes along the way, including possibly the sharpest and most biting Vetinari speech of the entire series.
The Patrician took a sip of his beer. "I have told this to few people, gentlemen, and I suspect never will again, but one day when I was a young boy on holiday in Uberwald I was walking along the bank of a stream when I saw a mother otter with her cubs. A very endearing sight, I'm sure you will agree, and even as I watched, the mother otter dived into the water and came up with a plump salmon, which she subdued and dragged on to a half-submerged log. As she ate it, while of course it was still alive, the body split and I remember to this day the sweet pinkness of its roes as they spilled out, much to the delight of the baby otters who scrambled over themselves to feed on the delicacy. One of nature's wonders, gentlemen: mother and children dining on mother and children. And that's when I first learned about evil. It is built into the very nature of the universe. Every world spins in pain. If there is any kind of supreme being, I told myself, it is up to all of us to become his moral superior."
My dissatisfaction with the ending prevents Unseen Academicals from rising to the level of Night Watch, and it's a bit more uneven than the best books of the series. Still, though, this is great stuff; recommended to anyone who is reading the series. Followed in publication order by I Shall Wear Midnight. Rating: 8 out of 10

31 January 2024

Bits from Debian: New Debian Developers and Maintainers (November and December 2023)

The following contributors got their Debian Developer accounts in the last two months: The following contributor was added as Debian Maintainer in the last two months: Congratulations!

16 January 2024

Russ Allbery: Review: Making Money

Review: Making Money, by Terry Pratchett
Series: Discworld #36
Publisher: Harper
Copyright: October 2007
Printing: November 2014
ISBN: 0-06-233499-9
Format: Mass market
Pages: 473
Making Money is the 36th Discworld novel, the second Moist von Lipwig book, and a direct sequel to Going Postal. You could start the series with Going Postal, but I would not start here. The post office is running like a well-oiled machine, Adora Belle is out of town, and Moist von Lipwig is getting bored. It's the sort of boredom that has him picking his own locks, taking up Extreme Sneezing, and climbing buildings at night. He may not realize it, but he needs something more dangerous to do. Vetinari has just the thing. The Royal Bank of Ankh-Morpork, unlike the post office before Moist got to it, is still working. It is a stolid, boring institution doing stolid, boring things for rich people. It is also the battleground for the Lavish family past-time: suing each other and fighting over money. The Lavishes are old money, the kind of money carefully entangled in trusts and investments designed to ensure the family will always have money regardless of how stupid their children are. Control of the bank is temporarily in the grasp of Joshua Lavish's widow Topsy, who is not a true Lavish, but the vultures are circling. Meanwhile, Vetinari has grand city infrastructure plans, and to carry them out he needs financing. That means he needs a functional bank, and preferably one that is much less conservative. Moist is dubious about running a bank, and even more reluctant when Topsy Lavish sees him for exactly the con artist he is. His hand is forced when she dies, and Moist discovers he has inherited her dog, Mr. Fusspot. A dog that now owns 51% of the Royal Bank and therefore is the chairman of the bank's board of directors. A dog whose safety is tied to Moist's own by way of an expensive assassination contract. Pratchett knew he had a good story with Going Postal, so here he runs the same formula again. And yes, I was happy to read it again. Moist knows very little about banking but quite a lot about pretending something will work until it does, which has more to do with banking than it does with running a post office. The bank employs an expert, Mr. Bent, who is fanatically devoted to the gold standard and the correctness of the books and has very little patience for Moist. There are golem-related hijinks. The best part of this book is Vetinari, who is masterfully manipulating everyone in the story and who gets in some great lines about politics.
"We are not going to have another wretched empire while I am Patrician. We've only just got over the last one."
Also, Vetinari processing dead letters in the post office was an absolute delight. Making Money does have the recurring Pratchett problem of having a fairly thin plot surrounded by random... stuff. Moist's attempts to reform the city currency while staying ahead of the Lavishes is only vaguely related to Mr. Bent's plot arc. The golems are unrelated to the rest of the plot other than providing a convenient deus ex machina. There is an economist making water models in the bank basement with an Igor, which is a great gag but has essentially nothing to do with the rest of the book. One of the golems has been subjected to well-meaning older ladies and 1950s etiquette manuals, which I thought was considerably less funny (and somewhat creepier) than Pratchett did. There are (sigh) clowns, which continue to be my least favorite Ankh-Morpork world-building element. At least the dog was considerably less annoying than I was afraid it was going to be. This grab-bag randomness is a shame, since I think there was room here for a more substantial plot that engaged fully with the high weirdness of finance. Unfortunately, this was a bit like the post office in Going Postal: Pratchett dives into the subject just enough to make a few wry observations and a few funny quips, and then resolves the deeper issues off-camera. Moist tries to invent fiat currency, because of course he does, and Pratchett almost takes on the gold standard, only to veer away at the last minute into vigorous hand-waving. I suspect part of the problem is that I know a little bit too much about finance, so I kept expecting Pratchett to take the humorous social commentary a couple of levels deeper. On a similar note, the villains have great potential that Pratchett undermines by adding too much over-the-top weirdness. I wish Cosmo Lavish had been closer to what he appears to be at the start of the book: a very wealthy and vindictive man (and a reference to Cosimo de Medici) who doesn't have Moist's ability to come up with wildly risky gambits but who knows considerably more than he does about how banking works. Instead, Pratchett gives him a weird obsession that slowly makes him less sinister and more pathetic, which robs the book of a competent antagonist for Moist. The net result is still a fun book, and a solid Discworld entry, but it lacks the core of the best series entries. It felt more like a skit comedy show than a novel, but it's an excellent skit comedy show with the normal assortment of memorable Pratchettisms. Certainly if you've read this far, or even if you've only read Going Postal, you'll want to read Making Money as well. Followed by Unseen Academicals. The next Moist von Lipwig book is Raising Steam. Rating: 8 out of 10

1 January 2024

Russ Allbery: 2023 Book Reading in Review

In 2023, I finished and reviewed 53 books, continuing a trend of year-over-year increases and of reading the most books since 2012 (the last year I averaged five books a month). Reviewing continued to be uneven, with a significant slump in the summer and smaller slumps in February and November, and a big clump of reviews finished in October in addition to my normal year-end reading and reviewing vacation. The unevenness this year was mostly due to finishing books and not writing reviews immediately. Reviews are much harder to write when the finished books are piling up, so one goal for 2024 is to not let that happen again. I enter the new year with one book finished and not yet reviewed, after reading a book about every day and a half during my December vacation. I read two all-time favorite books this year. The first was Emily Tesh's debut novel Some Desperate Glory, which is one of the best space opera novels I have ever read. I cannot improve on Shelley Parker-Chan's blurb for this book: "Fierce and heartbreakingly humane, this book is for everyone who loved Ender's Game, but Ender's Game didn't love them back." This is not hard science fiction but it is fantastic character fiction. It was exactly what I needed in the middle of a year in which I was fighting a "burn everything down" mood. The second was Night Watch by Terry Pratchett, the 29th Discworld and 6th Watch novel. Throughout my Discworld read-through, Pratchett felt like he was on the cusp of a truly stand-out novel, one where all the pieces fit and the book becomes something more than the sum of its parts. This was that book. It's a book about ethics and revolutions and governance, but also about how your perception of yourself changes as you get older. It does all of the normal Pratchett things, just... better. While I would love to point new Discworld readers at it, I think you do have to read at least the Watch novels that came before it for it to carry its proper emotional heft. This was overall a solid year for fiction reading. I read another 15 novels I rated 8 out of 10, and 12 that I rated 7 out of 10. The largest contributor to that was my Discworld read-through, which was reliably entertaining throughout the year. The run of Discworld books between The Fifth Elephant (read late last year) and Wintersmith (my last of this year) was the best run of Discworld novels so far. One additional book I'll call out as particularly worth reading is Thud!, the Watch novel after Night Watch and another excellent entry. I read two stand-out non-fiction books this year. The first was Oliver Darkshire's delightful memoir about life as a rare book seller, Once Upon a Tome. One of the things I will miss about Twitter is the regularity with which I stumbled across fascinating people and then got to read their books. I'm off Twitter permanently now because the platform is designed to make me incoherently angry and I need less of that in my life, but it was very good at finding delightfully quirky books like this one. My other favorite non-fiction book of the year was Michael Lewis's Going Infinite, a profile of Sam Bankman-Fried. I'm still bemused at the negative reviews that this got from people who were upset that Lewis didn't turn the story into a black-and-white morality play. Bankman-Fried's actions were clearly criminal; that's not in dispute. Human motivations can be complex in ways that are irrelevant to the law, and I thought this attempt to understand that complexity by a top-notch storyteller was worthy of attention. Also worth a mention is Tony Judt's Postwar, the first book I reviewed in 2023. A sprawling history of post-World-War-II Europe will never have the sheer readability of shorter, punchier books, but this was the most informative book that I read in 2023. 2024 should see the conclusion of my Discworld read-through, after which I may return to re-reading Mercedes Lackey or David Eddings, both of which I paused to make time for Terry Pratchett. I also have another re-read similar to my Chronicles of Narnia reviews that I've been thinking about for a while. Perhaps I will start that next year; perhaps it will wait for 2025. Apart from that, my intention as always is to read steadily, write reviews as close to when I finished the book as possible, and make reading time for my huge existing backlog despite the constant allure of new releases. Here's to a new year full of more new-to-me books and occasional old favorites. The full analysis includes some additional personal reading statistics, probably only of interest to me.

22 December 2023

Russ Allbery: Review: Wintersmith

Review: Wintersmith, by Terry Pratchett
Series: Discworld #35
Publisher: Clarion Books
Copyright: 2006
Printing: 2007
ISBN: 0-06-089033-9
Format: Mass market
Pages: 450
Wintersmith is the 35th Discworld novel and the 3rd Tiffany Aching novel. You could probably start here, since understanding the backstory isn't vital for following the plot, but I'm not sure why you would. Tiffany is now training with Miss Treason, a 113-year-old witch who is quite different in her approach from Miss Level, Tiffany's mentor in A Hat Full of Sky. Miss Level was the unassuming and constantly helpful glue that held the neighborhood together. Miss Treason is the judge; her neighbors are scared of her and proud of being scared of her, since that means they have a proper witch who can see into their heads and sort out their problems. On the surface, they're quite different; part of the story of this book is Tiffany learning to see the similarities. First, though, Miss Treason rushes Tiffany to a strange midnight Morris Dance, without any explanation. The Morris Dance usually celebrates the coming of spring and is at the center of a village party, so Tiffany is quite confused by seeing it danced on a dark and windy night in late autumn. But there is a hole in the dance where the Fool normally is, and Tiffany can't keep herself from joining it. This proves to be a mistake. That space was left for someone very different from Tiffany, and now she's entangled herself in deep magic that she doesn't understand. This is another Pratchett novel where the main storyline didn't do much for me. All the trouble stems from Miss Treason being maddeningly opaque, and while she did warn Tiffany, she did so in that way that guarantees a protagonist of a middle-grade novel will ignore. The Wintersmith is a boring, one-note quasi-villain, and the plot mainly revolves around elemental powers being dumber than a sack of hammers. The one thing I will say about the main plot is that the magic Tiffany danced into is entangled with courtship and romance, Tiffany turns thirteen over the course of this book, and yet this is not weird and uncomfortable reading the way it would be in the hands of many other authors. Pratchett has a keen eye for the age range that he's targeting. The first awareness that there is such a thing as romance that might be relevant to oneself pairs nicely with the Wintersmith's utter confusion at how Tiffany's intrusion unbalanced his dance. This is a very specific age and experience that I think a lot of authors would shy away from, particularly with a female protagonist, and I thought Pratchett handled it adroitly. I personally found the Wintersmith's awkward courting tedious and annoying, but that's more about me than about the book. As with A Hat Full of Sky, though, everything other than the main plot was great. It is becoming obvious how much Tiffany and Granny Weatherwax have in common, and that Granny Weatherwax recognizes this and is training Tiffany herself. This is high-quality coming-of-age material, not in the traditional fantasy sense of chosen ones and map explorations, but in the sense of slowly-developing empathy and understanding of people who think differently than you do. Tiffany, like Granny Weatherwax, has very little patience with nonsense, and her irritation with stupidity is one of her best characteristics. But she's learning how to blunt it long enough to pay attention, and to understand how people she doesn't like can still be the right people for specific situations. I particularly loved how Granny carries on with a feud at the same time that Tiffany is learning to let go of one. It's not a contradiction or hypocrisy; it's a sign that Tiffany is entitled to her judgments and feelings, but has to learn how to keep them in their place and not let them take over. One of the great things about the Tiffany Aching books is that the villages are also characters. We don't see that much of the individual people, but one of the things Tiffany is learning is how to see the interpersonal dynamics and patterns of village life. Somehow the feelings of irritation and exasperation fade once you understand people's motives and see more sides to their character. There is a lot more Nanny Ogg in this book than there has been in the last few, and that reminded me of how much I love her character. She has a completely different approach than Granny Weatherwax, but it's just as effective in different ways. She's also the perfect witch to have around when you've stumbled into a stylized love story that you don't want to be a part of, and yet find oddly fascinating. It says something about the skill of Pratchett's characterization that I could enjoy a book this much while having no interest in the main plot. The Witches have always been great characters, but somehow they're even better when seen through Tiffany's perspective. Good stuff; if you liked any of the other Tiffany Aching books, you will like this as well. Followed by Making Money in publication order. The next Tiffany Aching novel is I Shall Wear Midnight. Rating: 8 out of 10

4 December 2023

Russ Allbery: Cumulative haul

I haven't done one of these in quite a while, long enough that I've already read and reviewed many of these books. John Joseph Adams (ed.) The Far Reaches (sff anthology)
Poul Anderson The Shield of Time (sff)
Catherine Asaro The Phoenix Code (sff)
Catherine Asaro The Veiled Web (sff)
Travis Baldree Bookshops & Bonedust (sff)
Sue Burke Semiosis (sff)
Jacqueline Carey Cassiel's Servant (sff)
Rob Copeland The Fund (nonfiction)
Mar Delaney Wolf Country (sff)
J.S. Dewes The Last Watch (sff)
J.S. Dewes The Exiled Fleet (sff)
Mike Duncan Hero of Two Worlds (nonfiction)
Mike Duncan The Storm Before the Storm (nonfiction)
Kate Elliott King's Dragon (sff)
Zeke Faux Number Go Up (nonfiction)
Nicola Griffith Menewood (sff)
S.L. Huang The Water Outlaws (sff)
Alaya Dawn Johnson The Library of Broken Worlds (sff)
T. Kingfisher Thornhedge (sff)
Naomi Kritzer Liberty's Daughter (sff)
Ann Leckie Translation State (sff)
Michael Lewis Going Infinite (nonfiction)
Jenna Moran Magical Bears in the Context of Contemporary Political Theory (sff collection)
Ari North Love and Gravity (graphic novel)
Ciel Pierlot Bluebird (sff)
Terry Pratchett A Hat Full of Sky (sff)
Terry Pratchett Going Postal (sff)
Terry Pratchett Thud! (sff)
Terry Pratchett Wintersmith (sff)
Terry Pratchett Making Money (sff)
Terry Pratchett Unseen Academicals (sff)
Terry Pratchett I Shall Wear Midnight (sff)
Terry Pratchett Snuff (sff)
Terry Pratchett Raising Steam (sff)
Terry Pratchett The Shepherd's Crown (sff)
Aaron A. Reed 50 Years of Text Games (nonfiction)
Dashka Slater Accountable (nonfiction)
Rory Stewart The Marches (nonfiction)
Emily Tesh Silver in the Wood (sff)
Emily Tesh Drowned Country (sff)
Valerie Vales Chilling Effect (sff)
Martha Wells System Collapse (sff)
Martha Wells Witch King (sff)

21 November 2023

Russ Allbery: Review: Thud!

Review: Thud!, by Terry Pratchett
Series: Discworld #34
Publisher: Harper
Copyright: October 2005
Printing: November 2014
ISBN: 0-06-233498-0
Format: Mass market
Pages: 434
Thud! is the 34th Discworld novel and the seventh Watch novel. It is partly a sequel to The Fifth Elephant, partly a sequel to Night Watch, and references many of the previous Watch novels. This is not a good place to start. Dwarfs and trolls have a long history of conflict, as one might expect between a race of creatures who specialize in mining and a race of creatures whose vital organs are sometimes the targets of that mining. The first battle of Koom Valley was the place where that enmity was made concrete and given a symbol. Now that there are large dwarf and troll populations in Ankh-Morpork, the upcoming anniversary of that battle is the excuse for rising tensions. Worse, Grag Hamcrusher, a revered deep-down dwarf and a dwarf supremacist, is giving incendiary speeches about killing all trolls and appears to be tunneling under the city. Then whispers run through the city's dwarfs that Hamcrusher has been murdered by a troll. Vimes has no patience for racial tensions, or for the inspection of the Watch by one of Vetinari's excessively competent clerks, or the political pressure to add a vampire to the Watch over his prejudiced objections. He was already grumpy before the murder and is in absolutely no mood to be told by deep-down dwarfs who barely believe that humans exist that the murder of a dwarf underground is no affair of his. Meanwhile, The Battle of Koom Valley by Methodia Rascal has been stolen from the Ankh-Morpork Royal Art Museum, an impressive feat given that the painting is ten feet high and fifty feet long. It was painted in impressive detail by a madman who thought he was a chicken, and has been the spark for endless theories about clues to some great treasure or hidden knowledge, culminating in the conspiratorial book Koom Valley Codex. But the museum prides itself on allowing people to inspect and photograph the painting to their heart's content and was working on a new room to display it. It's not clear why someone would want to steal it, but Colon and Nobby are on the case. This was a good time to read this novel. Sadly, the same could be said of pretty much every year since it was written. "Thud" in the title is a reference to Hamcrusher's murder, which was supposedly done by a troll club that was found nearby, but it's also a reference to a board game that we first saw in passing in Going Postal. We find out a lot more about Thud in this book. It's an asymmetric two-player board game that simulates a stylized battle between dwarf and troll forces, with one player playing the trolls and the other playing the dwarfs. The obvious comparison is to chess, but a better comparison would be to the old Steve Jackson Games board game Ogre, which also featured asymmetric combat mechanics. (I'm sure there are many others.) This board game will become quite central to the plot of Thud! in ways that I thought were ingenious. I thought this was one of Pratchett's best-plotted books to date. There are a lot of things happening, involving essentially every member of the Watch that we've met in previous books, and they all matter and I was never confused by how they fit together. This book is full of little callbacks and apparently small things that become important later in a way that I found delightful to read, down to the children's book that Vimes reads to his son and that turns into the best scene of the book. At this point in my Discworld read-through, I can see why the Watch books are considered the best sub-series. It feels like Pratchett kicks the quality of writing up a notch when he has Vimes as a protagonist. In several books now, Pratchett has created a villain by taking some human characteristic and turning it into an external force that acts on humans. (See, for instance the Gonne in Men at Arms, or the hiver in A Hat Full of Sky.) I normally do not like this plot technique, both because I think it lets humans off the hook in a way that cheapens the story and because this type of belief has a long and bad reputation in religions where it is used to dodge personal responsibility and dehumanize one's enemies. When another of those villains turned up in this book, I was dubious. But I think Pratchett pulls off this type of villain as well here as I've seen it done. He lifts up a facet of humanity to let the reader get a better view, but somehow makes it explicit that this is concretized metaphor. This force is something people create and feed and choose and therefore are responsible for. The one sour note that I do have to complain about is that Pratchett resorts to some cheap and annoying "men are from Mars, women are from Venus" nonsense, mostly around Nobby's subplot but in a few other places (Sybil, some of Angua's internal monologue) as well. It's relatively minor, and I might let it pass without grumbling in other books, but usually Pratchett is better on gender than this. I expected better and it got under my skin. Otherwise, though, this was a quietly excellent book. It doesn't have the emotional gut punch of Night Watch, but the plotting is superb and the pacing is a significant improvement over The Fifth Elephant. The parody is of The Da Vinci Code, which is both more interesting than Pratchett's typical movie parodies and delightfully subtle. We get more of Sybil being a bad-ass, which I am always here for. There's even some lovely world-building in the form of dwarven Devices. I love how Pratchett has built Vimes up into one of the most deceptively heroic figures on Discworld, but also shows all of the support infrastructure that ensures Vimes maintain his principles. On the surface, Thud! has a lot in common with Vimes's insistently moral stance in Jingo, but here it is more obvious how Vimes's morality happens in part because his wife, his friends, and his boss create the conditions for it to thrive. Highly recommended to anyone who has gotten this far. Rating: 9 out of 10

23 October 2023

Russ Allbery: Review: Going Postal

Review: Going Postal, by Terry Pratchett
Series: Discworld #33
Publisher: Harper
Copyright: October 2004
Printing: November 2014
ISBN: 0-06-233497-2
Format: Mass market
Pages: 471
Going Postal is the 33rd Discworld novel. You could probably start here if you wanted to; there are relatively few references to previous books, and the primary connection (to Feet of Clay) is fully re-explained. I suspect that's why Going Postal garnered another round of award nominations. There are arguable spoilers for Feet of Clay, however. Moist von Lipwig is a con artist. Under a wide variety of names, he's swindled and forged his way around the Disc, always confident that he can run away from or talk his way out of any trouble. As Going Postal begins, however, it appears his luck has run out. He's about to be hanged. Much to his surprise, he wakes up after his carefully performed hanging in Lord Vetinari's office, where he's offered a choice. He can either take over the Ankh-Morpork post office, or he can die. Moist, of course, immediately agrees to run the post office, and then leaves town at the earliest opportunity, only to be carried back into Vetinari's office by a relentlessly persistent golem named Mr. Pump. He apparently has a parole officer. The clacks, Discworld's telegraph system first seen in The Fifth Elephant, has taken over most communications. The city is now dotted with towers, and the Grand Trunk can take them at unprecedented speed to even far-distant cities like Genua. The post office, meanwhile, is essentially defunct, as Moist quickly discovers. There are two remaining employees, the highly eccentric Junior Postman Groat who is still Junior because no postmaster has lasted long enough to promote him, and the disturbingly intense Apprentice Postman Stanley, who collects pins. Other than them, the contents of the massive post office headquarters are a disturbing mail sorting machine designed by Bloody Stupid Johnson that is not picky about which dimension or timeline the sorted mail comes from, and undelivered mail. A lot of undelivered mail. Enough undelivered mail that there may be magical consequences. All Moist has to do is get the postal system running again. Somehow. And not die in mysterious accidents like the previous five postmasters. Going Postal is a con artist story, but it's also a startup and capitalism story. Vetinari is, as always, solving a specific problem in his inimitable indirect way. The clacks were created by engineers obsessed with machinery and encodings and maintenance, but it's been acquired by... well, let's say private equity, because that's who they are, although Discworld doesn't have that term. They immediately did what private equity always did: cut out everything that didn't extract profit, without regard for either the service or the employees. Since the clacks are an effective monopoly and the new owners are ruthless about eliminating any possible competition, there isn't much to stop them. Vetinari's chosen tool is Moist. There are some parts of this setup that I love and one part that I'm grumbly about. A lot of the fun of this book is seeing Moist pulled into the mission of resurrecting the post office despite himself. He starts out trying to wriggle out of his assigned task, but, after a few early successes and a supernatural encounter with the mail, he can't help but start to care. Reformed con men often make good protagonists because one can enjoy the charisma without disliking the ethics. Pratchett adds the delightfully sharp-witted and cynical Adora Belle Dearheart as a partial reader stand-in, which makes the process of Moist becoming worthy of his protagonist role even more fun. I think that a properly functioning postal service is one of the truly monumental achievements of human society and doesn't get nearly enough celebration (or support, or pay, or good working conditions). Give me a story about reviving a postal service by someone who appreciates the tradition and social role as much as Pratchett clearly does and I'm there. The only frustration is that Going Postal is focused more on an immediate plot, so we don't get to see the larger infrastructure recovery that is clearly needed. (Maybe in later books?) That leads to my grumble, though. Going Postal and specifically the takeover of the clacks is obviously inspired by corporate structures in the later Industrial Revolution, but this book was written in 2004, so it's also a book about private equity and startups. When Vetinari puts a con man in charge of the post office, he runs it like a startup: do lots of splashy things to draw attention, promise big and then promise even bigger, stumble across a revenue source that may or may not be sustainable, hire like mad, and hope it all works out. This makes for a great story in the same way that watching trapeze artists or tightrope walkers is entertaining. You know it's going to work because that's the sort of book you're reading, so you can enjoy the audacity and wonder how Moist will manage to stay ahead of his promises. But it is still a con game applied to a public service, and the part of me that loves the concept of the postal service couldn't stop feeling like this is part of the problem. The dilemma that Vetinari is solving is a bit too realistic, down to the requirement that the post office be self-funding and not depend on city funds and, well, this is repugnant to me. Public services aren't businesses. Societies spend money to build things that they need to maintain society, and postal service is just as much one of those things as roads are. The ability of anyone to send a letter to anyone else, no matter how rural the address is, provides infrastructure on which a lot of important societal structure is built. Pratchett made me care a great deal about Ankh-Morpork's post office (not hard to do), and now I want to see it rebuilt properly, on firm foundations, without splashy promises and without a requirement that it pay for itself. Which I realize is not the point of Discworld at all, but the concept of running a postal service like a startup hits maybe a bit too close to home. Apart from that grumble, this is a great book if you're in the mood for a reformed con man story. I thought the gold suit was a bit over the top, but I otherwise thought Moist's slow conversion to truly caring about his job was deeply satisfying. The descriptions of the clacks are full of askew Discworld parodies of computer networking and encoding that I enjoyed more than I thought I would. This is also the book that introduced the now-famous (among Pratchett fans at least) GNU instruction for the clacks, and I think that scene is the most emotionally moving bit of Pratchett outside of Night Watch. Going Postal is one of the better books in the Discworld series to this point (and I'm sadly getting near the end). If you have less strongly held opinions about management and funding models for public services, or at least are better at putting them aside when reading fantasy novels, you're likely to like it even more than I did. Recommended. Followed by Thud!. The thematic sequel is Making Money. Rating: 8 out of 10

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