Tangled Mind

I was no longer the outward and visible sign of Agamemnon’s power and Achilles’ humiliation. No, I’d become something altogether more sinister: I was the girl who’d caused the quarrel. Oh, yes, I’d caused it – in much the same way, I suppose, as a bone is responsible for a dogfight. [loc. 1596]

This is the story of Briseis, a princess of Lyrnessus who was captured when the Achaeans sacked the city. Her husband and brothers were slaughtered, and she was given to Achilles as a prize. Later, Agamemnon's prize Chryseis was returned to her father, a priest of Apollo: plague had broken out and Apollo, the god of plague, needed to be appeased. Agamemnon complained about the loss of his property: Briseis was taken from Achilles and given to Agamemnon to replace Chryseis, and Achilles then sulked in his tent and refused to fight.

Of course the story is quite different from Briseis' point of view.( Read more... )

Depending on your point of view, the transplantation of a human heart is a miracle, a violation, a leap of faith, an act of sacrilege. It’s a dream come true, a death postponed, a biomedical triumph, a day job. [loc. 199]

Keira, aged nine, is fatally injured in a traffic accident: her heart keeps beating but she is brain-dead. Max, also aged nine, has been in hospital for almost a year because his heart is failing. This is the story of how Keira (and, more actively, her family) saved Max( Read more... )

"Wasn't your novel originally going to be about a marriage agency in Ukraine?"
"Null and void... I was writing about a so-called invasion of bachelors to Ukraine, and then an actual invasion happened. Even in peacetime I felt queasy writing right into not one but two Ukrainian tropes, 'mail-order brides' and topless protesters. To continue now seems unforgiveable." [loc. 1457]

The first half of Endling is the story of Yeva, a malacologist ('despite its inclusion of mollusks without backbones') who's determined to save endangered snail species. It hasn't gone well: she is down to one living specimen, Lefty, whose shell coils the opposite way to others of his species. (Yeva, similarly, coils the other way: she's asexual, though she has a passionate friendship with a conservationist.) Lefty is an endling, the last of his variant. Perhaps Yeva is too.

To finance her mobile lab, Yeva works for Romeo Meets Yulia, an agency that does 'romance tours' for Western men. ( Read more... )

...she understands, now, that she has not been alone these eight years, not really. She carries all that she is, and has been, within her. Stella gasps with the mercy and the cruelty of it all. [loc. 405]

Short story, part of Amazon's 'Shivers' collection: read because Catriona Ward is a favourite author and it's too long since her last novel.

Stella is visiting the motel where her husband Frank and son Sam stayed eight years ago, the night before they died when Frank's car crashed off a suspension bridge and into a river. Sam would be ten now. Stella's life has frozen: she's estranged from her mother (who advised her to leave Frank) and finds it hard to connect with her sister Dina. She blames herself for Frank and Sam's death, and just wants to be with Sam again. She writes a farewell letter and falls asleep: but dreams...

Too short, but very atmospheric: I listened to the audiobook, which was read slightly too dramatically for my taste, but still good. The prose is lovely and the story, though simple, feels organic and rounded.

There is freedom in this life and there is power, and I was ambitious for the latter. [p. 15]

Kamet is a slave, albeit an expensive and efficient one: he is secretary to Nahuseresh, the erstwhile Medean ambassador to Attolia. Disgraced by the failure of the mission to Attolia the year before, Nahuseresh has returned to court in Ianna-Ir, hoping for a new post. Unfortunately his latest request has not been granted -- and the court is a dangerous place for a man out of favour.( Read more... )

... what he had taken for the roughness of sleep was the king’s accent. While half asleep, he had spoken with an Eddisian accent, which was only to be expected, but Costis had never heard it before, nor had anyone he knew. Awake, the king sounded like an Attolian. It made Costis wonder what else the king could hide so well that no one even thought to look for it.[p. 219]

Eugenides has become King of Attolia, but is not well-received by the courtiers and soldiers of the city. They believe he's a barbarian who forced the Queen to marry him, and who has not consummated the marriage. (There is a rude song about this.) They put snakes in his bed and sand in his food: they regard him as helpless and inept.

But this is not his story -- or, rather, not his narrative. It's the story of Costis Ormentiedes, a young soldier in the King's Guard, who we first see trying to compose a letter to his father after having punched the King in the face.

It was a relief to explain everything to her... what I’d thought of the magus in the beginning and what I thought of him in the end. What it meant to be the focus of the gods’ attention, to be their instrument, used to change the shape of the world. And it was nice to brag a little, too. [p. 218]

A reread: my previous read (review) was in 2009, back when I was still reading print books, and acquiring them from BookMooch, which was able to provide copies of the first and second book in the series -- but not the third, or the fourth that had only just been published. They weren't available in UK editions until a few years ago. Now there are six books; I have purchased two as Kindle deals over the last few years; and all six are available via Kindle Unlimited. Sparked by a setting similar to Ancient Greece (though with definite Byzantine overtones, and more technology: watches, glass windows, rifles) I immersed myself, and have read all six in the space of a week. It has been blissful, and I'm sure I've noticed aspects and elements which would have eluded me if I'd read each volume as it became available.

Greek religion does not promote morality. Piety towards the gods and the dead, not good behaviour, is its central aim. [loc. 350]

Read in fits and starts between other books, mostly for the fascinating factoids and descriptions of legal process in classical Greece. Presented as a handbook for time-travellers, How to Survive in Ancient Greece is good at highlighting some key differences: the improbability of growing old, the more equitable distribution of wealth (1% really wealthy, 1% really poor, 'the majority of Athenians are very poor by our standards'), the less equitable treatment of women. Entertaining, engaging, informative.

What faces a young swift is a metamorphosis no less than if it were a larval insect bursting from the chrysalis as a winged imago. What hatched as a toad-mouthed lizard has already morphed to a light-wreathed angel, but now it must go from a condition of complete reliance upon parents to independence, instantly and without alternative. It must launch itself from a dusty, dark roof and fly out to the Sun. There are no second chances. It is a one-shot deal. It must fly, but fly perfectly, having never done so. It must simultaneously learn to feed and do so immediately... [loc. 2361]

Mark Cocker frames his narrative as a single summer day, from dawn to dusk. He draws on history, physics and anecdote to support his hypothesis that 'it takes a whole universe to make just one small black bird', and his account is nature writing at its best -- discursive, poetic, emotional, scientific, full of anecdotes and unexpected facts. ( Read more... )

... this new queer writing was all about using language to weave connections: to a place (San Francisco’s Bay Area) and between people (real or imagined). All in the service of queer community politics. In the late 1970s, [Bruce] Boone and [Robert] Glück thought about calling it something. ‘How about New Narrative?’ Boone suggested as a joke. [p. 287]

Hester starts off at Prospect Cottage, Derek Jarman's house at Dungeness, with the vague notion of 'a larger project I had in mind, which would examine the importance of queer places in the history of arts and culture' [p.7].( Read more... )