There are any number of personal anecdotes/mini personal revelations I could use to ease into a discussion of this book, but I’m going to cold open with this: I like weird stuff. I don’t know if it’s been a consistent thing, my attraction to bizarro shit, or it’s a more recent and mildly alarming development in my personality, but it’s one that I’ve pretty much embraced. It’s confused people, the weirdness generally tends to confuse people, but I stand by my Eraserhead enthusiasm and unironic love of pigeon dating games. Weird is great, okay? Weird is playful, the ability to step back and go yes, but what if, an impulse that puts it catty-corner to surreal and experimental on the avenue of delighted surprise. Weird doesn’t always mean well-conceived or even ultimately all that interesting—think of any of the failed start-ups that litter college campuses—but it does mean a willingness to do things differently, and that is something I can admire.
So then. Personal anecdote over. Meddling Kids.
(cw for discussions of mental health, suicide, and general trauma) Continue reading “Meddling Kids: The (Eldritch, Pop-Culture Saturated) Beach Read of 2017”
I have a complicated relationship with Zadie Smith. By which I mean I read White Teeth when I was nineteen/twenty and, like basically every other collegiate female of that age, loved it with a fervor and intensity makes it nigh-impossible to fairly judge anything else by Smith. Not that I dislike Smith’s other books or that I’ve been particularly vigilant about reading them; outside of Swing Time, the first few chapters of The Autograph Man (I liked the first chapter/prologue, but could not get past the rest), and a few scattered essays, I haven’t strayed far beyond White Teeth. Because, you see, when I finished White Teeth I was exhilarated, filled with the kind of lit nerd high that comes from discovery of something really, really fucking good. There’s a particular image I have of Zadie Smith the author, and it’s an one I’m reluctant to tarnish by exposing to reality.
Swing Time, though…Swing Time was interesting. Swing Time looked promising and more than that, everyone was talking about—couldn’t pass a bookstore without seeing it at a display table, browse a book blog without finding it somewhere on the ledge. And the marketing worked: I was curious. I bit.
Continue reading “Swing Time: A Shamelessly Biased Review”
For those who’ve always wanted a novel about a haunted Ikea knockoff, well then, Horrorstör is the long-awaited answer to your prayers. Taking place in Orsk, a faux Scandinavian furniture store in the heart of America, Horrorstör provides everything you would expect from a horror novel packaged as an Ikea catalogue: umlaut abuse, likeable but flawed protagonists, and none-too-subtle critiques of capitalism. What else could you want, really?
Let’s be real, though. This is a book about a haunted Ikea; there’s no way I wouldn’t be there for that shit. Continue reading “Horrorstör: And Then The Real Monster was Capitalism”
(Yes, I’ve sat in the kitchen and eaten straight honey from a spoon. Don’t judge.)
The last few months, I’ve been really getting into queer YA. So far, it’s been a good ride: while (as with any genre) there’s been some meh stuff (mostly due to writers either not understanding how teenagers act or letting characters be defined by their queerness), as a whole, it’s delivered on the promise of fun, decently well-written fiction that’s thoughtful without being too self-indulgently navel-gaze-y. Plus, as someone who (as a teenager) got most of her queer representation through fan projects or the internet, I can’t help but get excited about books that feature non-straight people, even moreso when they’re YA—it’s fucking difficult to be a teenager even without the queer thing in the mix, and anything that tries to alleviate that I am 100% behind.
All that said then, Boy Meets Boy. BMB is a book from David Leviathan, an author who’s contributed a lot to the rather niche queer YA genre—he’s written twenty-three books and worked with multiple YA authors, including John Green, with whom he co-wrote Will Grayson, Will Grayson. Boy Meets Boy was Leviathan’s first novel, in 2003, and its premise is as simple as its title: a boy (Paul) meets another boy (Noah). They fall in love. Their parents and the small town they live in are incredibly accepting of their non-straightness (background characters include a drag queen star quarterback and the straight football player still bitter over getting rejected by her), and yet high school has a way of getting in the way of even the best of romances go awry.
Continue reading “Boy Meets Boy: The Literary Equivalent of Eating Honey Out of the Jar”