THE VILLAIN'S DANCE, apt title for this cautionary tale of the societal chaos of civil war

THE VILLAIN'S DANCE
FISTON MWANZA MUJILA (tr. Roland Glasser)
Deep Vellum (non-affiliate Amazon link)
$9.99 Kindle edition, available now

Rating: 4.5* of five

The Publisher Says: Following the international success of his debut novel Tram 83, Fiston Mwanza Mujila is back with his highly anticipated second novel, which follows a remarkable series of characters during the Mobutu regime.

The Democratic Republic of Congo, otherwise known as Congo-Kinshasa or DRCongo, has had a series of names since its founding. The name of Zaire best corresponds to the experience of the novel’s characters. The years of Mobutu’s regime were filled with utopias, dreams, fantasies and other uncontrolled desires for social redemption, the quest for easy enrichment and the desecration of places of power.

Among these Zairians’ immigration to Angola during the civil war boycotting the borders inherited from colonization, as if the country did not have its own diamonds, and the occupation of public places by children from outside. The author creates the atmosphere of the time through a roundup of the diviner Tshiamuena, also known as Madonna of the Cafunfo mines, prides herself of being God with whoever is willing to listen to her. Franz Baumgartner, an apprentice writer originally from Austria and rumba lover, goes around the bars in search of material for his novel. Sanza, Le Blanc and other street children share information to the intelligence services when they are not living off begging and robbery. Djibril, taxi driver, only lives for reggae music.

As soon as night falls, each character dances and plays his own role in a country mined by dictatorship.

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My Review: Want to know how much I appreciate Author Fiston Mwanza Mujila's talents?

I didn't pan, belittle, or insult his poetry. All y'all know how I feel about poetry. And I gave it more than three stars! Be amazed, be impressed...I hope you'll be inspired to go get one. Tram 83 worked for me, as well; I know a lot of folks were't fans but it felt like a breeze from Africa to me, hot, wet, heavily freighted. This impression left me for dead in the first instance; I was less enrapt with its story and atmosphere then than I am in retrospect. In part that's down to my subsequent experience of reading The Villain's Dance.

In common with my earlier reads of the author's books, I began this one with an awareness of atmosphere. He is always, or so it feels to me, careful to begin as he means to go on. I'm reasonably sure the huge majority of my readers are unaware of Mobutu's identity, and are more or less uninformed about tthe name "Zaire" and its history...many in my generation will have known the name Zaire vaguely applies to a huge place near the Congo River but be blissfully unaware that the name is no longer used, or why that happened.

I think that gives the novel almost an SFnal appeal. There's little sense of geography encompassing the story in US readers, so why not just go all the way and market it as taking place on a different planet entirely? *I* can do this, I'm a book reviewer, the publisher can't. The level of outrage engendered would be epic. However, let me propose this to you: If you're willing to learn the names of made-up places like Middle Earth, Arrakis, Pern, Atlantis, Downbelow Station, and their different inhabitants, conflicts, social norms, what's the hold up on Zaire and Brazzaville?

Maybe the tiniest taint of racism? Worth some energy to think about.

Assuming you're in the already-overcame-it or the overcoming-it-now group, this story's got great conflicts between dark-grey, pitch-black, and palest shades of violet people trying their best to make it in a world where up and down just switched places...like being on a space station whose spin just changed speeds dramatically.

Maybe my increased appreciation for this read makes more sense than I thought it did at first.

The people in this book aren't just as well-realized as the setting, for the most part; see below. The pace of the story is provided by history, as it's based on the realities then prevailing. The entire enterprise of nation-building collapsing into civil war (by definition a chaotic break in the life of a society) honestly needs little of that tarting up to make it compelling, even riveting, reading. What Author Fiston does very well here is to fragment the locations of the chaos to give different people reason to speak their truth without losing the core purpose of telling us this story. Like Do Androids Dream of Electric Sheep?, we are taken into realms of deep desperation and left there long enough to get it; then we're offered a peek into the purpose of the extraction and the exploitation that requires...we're not left to wallow, the way The Octopus, f/ex, does with us in service of the same sharp criticism of the cutting edge of capitalism. Poe said it very succinctly in the nineteenth century:  "{C}orporations, it is very well known, have neither posteriors to be kicked, nor souls to be damned." (Thanks for showing me the accurate quote again, P-E!)

Edges, as noted above, cut; in this story we're in the path of the blade so see both the wielding and cutting inherent in its very existence. People fail. It is inevitable. Challenges go unmet still less mastered. As often as not that is a design feature of the challenge. It engenders judgment and contempt for failure, but leaves the challenge, well, unchallenged. I suspect the true-to-life experience of people showing up for a minute then vanishing will affront a lot of complacently smug story-structure addicts. It's not by accident, y'all; it's a feature not a bug. Like life in an unstable place at a volatile time, different people will come, only to go without fanfare, or even explanation. Most of the characters trying to make it any old how they can haven't got the wherewithal to care, often enough to notice, who is who except at the precise flash of the camera that "now" represents.

I am trying as best I can to explain away the most common issues I've seen raised in others's assessments of the book. I'm not sure it matters. I hope y'all will attend to my 4.5* rating more closely than to my blandishments. A book of this trenchance is not to be dismissed. I'm hopeful that a few will take this moment of US culture shock to see what has happened in other places at this kind of inflection point.

Forewarned is forearmed.

SLEEPING WORLDS HAVE NO MEMORY, thought-provoking story with a hopeful twist

SLEEPING WORLDS HAVE NO MEMORY
YAROSLAV BARSUKOV
CAEZIK SF & Fantasy (non-affiliate Amazon link)
$4.99 Kindle edition, available tomorrow

Rating: 4.75* of five

The Publisher Says: When lies become truths and two kingdoms head to a bloody war, a man is exiled for his conscience

Refusing the queen’s order to gas a crowd of protesters, Minister Shea Ashcroft is banished to the border to oversee construction of the biggest defensive tower in history. However, the use of advanced technology taken from refugees makes the tower volatile and dangerous, becoming a threat to local interests. Shea has no choice but to fight the local hierarchy to ensure the construction succeeds—and to reclaim his own life.

Surviving an assassination attempt, Shea confronts his inner demons, encounters an ancient legend, and discovers a portal to a dead world—all the while struggling to stay true to his own principles and maintain his sanity. Fighting memories and hallucinations, he starts to question everything...

Sleeping Worlds Have No Memory is a thought-provoking meditation on the fragility of the human condition, our beliefs, the manipulation of propaganda for political gains, and our ability to distinguish the real from the unreal and willingness to accept convenient “truths.” The novel is a compelling exploration of memory, its fragile nature, and its profound impact on our perception of identity, relationships, and facts themselves.

A unique blend of science fiction, fantasy and noir, with zeitgeist and prophetic qualities (the original novella anticipated the Russo-Ukrainian War), this is a must for fans of China Miéville’s Bas-Lag series, Ted Chiang’s Tower of Babylon, and Robert Silverberg’s Tower of Glass.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: We can use some entertainment. We can use a bit of moral instruction, it seems. Author Barsukov said these things to himself, at least in my reconstruction of the thought process that led to this book, and decided that he'd make a world and a man to resist its slide into darkness.

I found this book very inspiring. I'm inspired to bring it to y'all's attention because of this piece from The Guardian, "'It will renew your faith in humanity': books to bring comfort in dark times":

A surprising number of readers believe a happy ending should mean automatic disqualification from any serious literary award. Good luck to them: I wish them joy in their wallowing. In my turn, I’ve come to believe the opposite. To reach only for novels that reaffirm our darkest fears is merely to make an escape of a different sort, not the escapism of brooding heroes and wedding finales, but the security blanket of an equally foregone conclusion: the safety of imagining the worst. I would argue that to live only in that place is simply cowardice in better camouflage. The truth is that it’s far riskier to remain in uncertainty. Far braver, far more radical to keep hoping.

The truth of this is in Shea's dogged determination to do what's Right; it's in his determination's effect on engineer Brielle, whose expertise is central in what their shared need to do what's Right creates.

There's a lot of the epic fantasy ethos in this urban-fantasy story, sans the usual military glorification; but there is a very welcome leavening of SF in the story that prevents me from the usual somnolent, glazed-eyed scanning to get to the ending. I was alert and involved as Brielle's skills were deployed to create the tower that Shea's tasked with defending, to little avail:

The tower took the length of the world—only it was an alien world, replicating itself over and over as it climbed to a distant, ghostly gap into the clouds. Or did he stare down a well? Shea's head spun again as up and down flip-flopped like axes on a gyroscope.

Does this dimensionally daft structure need defending? Does this technology need help, or resistance to its implications? Can anyone, still less a proven-murderous tyrant, be trusted with a tool/weapon of this magnitude? Are the Others, the aliens, to be trusted, or are they there to treat Shea and his people as the Others...with the usual result?

Ethical questions, existential ones, that resonate clearly with our post-November 6th world. They aren't easy, or easily solved ones; Author Barsukov doesn't pretend his ending is a solution to them all. There aren't any escape routes from the consequences of greed and lust for power provided. There are stern meditations on what we try to use, though:

What makes guilt so grotesque is the fact that it adorns itself with whatever remains of our righteousness.

And so the sadness of life as a moral actor, as a being with agency and puissance outreaching the lessons of their past, is revealed and refined. The story, an expansion of his 2021 novella Tower of Mud and Straw, reminded me more and more of THE DEEP SEA DIVER'S SYNDROME (qv) which French translation also delves into the intersection between dreamlike states and meatspace with equal care. Does anyone really know what the Tower is/can do? Do their...reveries, memories, dreamlike experiences...come without cost yet replete with warning signs?

An ending that addresses these queries of reality yet doesn't wrap them in a tight, constricting little bow gave me both inspiration and information to examine this moment in which I am deeply unhappy, afraid, and emotionally bereft, with a dose of hope. There is a reason Author Barsukov chose this particular stream-of-consciousness style, and this superposed urban-fantasy/SF genre mashup, to tell you this story. Intrinsic to the story, the way everything meshes...and the things that don't...are all made to present a frame for a very intensely resonant meditation.

There is not a lot more valuable for a story to give as its gift than that.

THE TRUTH ABOUT IMMIGRATION: Why Successful Societies Welcome Newcomers, careful, honest, trenchant and tendentious

THE TRUTH ABOUT IMMIGRATION: Why Successful Societies Welcome Newcomers
ZEKE HERNANDEZ
St. Martin's Press
$30.00 hardcover, available now

Rating: 4* of five

The Publisher Says: The go-to book on immigration: fact-based, comprehensive, and nonpartisan.

Immigration is one of the most controversial topics in the United States and everywhere else. Pundits, politicians, and the public usually depict immigrants as either villains or victims. The villain narrative is that immigrants pose a threat—to our economy because they steal our jobs; our way of life because they change our culture; and to our safety and laws because of their criminality. The victim argument tells us that immigrants are needy outsiders—the poor, huddled masses whom we must help at our own cost if necessary. But the data clearly debunks both narratives. From jobs, investment, and innovation to cultural vitality and national security, more immigration has an overwhelmingly positive impact on everything that makes a society successful.

In The Truth About Immigration, Wharton professor Zeke Hernandez draws from nearly 20 years of research to answer all the big questions about immigration. He combines moving personal stories with rigorous research to offer an accessible, apolitical, and evidence-based look at how newcomers affect our local communities and our nation. You'll learn about the overlooked impact of immigrants on investment and job creation; realize how much we take for granted the novel technologies, products, and businesses newcomers create; get the facts straight about perennial concerns like jobs, crime, and undocumented immigrants; and gain new perspectives on misunderstood issues such as the border, taxes, and assimilation.

Most books making a case for immigration tell you that immigration is good for immigrants. This book is all about how newcomers benefit you, your community, and your country. Skeptics fear that newcomers compete economically with locals because of their similarities and fail to socially assimilate because of their differences. You'll see that it's exactly the opposite: newcomers bring enduring economic benefits because of their differences and contribute positively to society because of their similarities. Destined to become the go-to book on one of the most important issues of our time, this book turns fear into hope by proving a simple truth: immigrants are essential for economically prosperous and socially vibrant nations.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Do you like to eat? Thank an immigrant, an economic migrant, as you chow down on those tomatoes and cucumbers.

*You* sure didn't go pick 'em.

Do you use Google, chat on Twitter, watch TikTok every day? Thank an immigrant. In this case, you're thanking said immigrant with your data being harvested to fatten his (they're all men, at least so far) coffers.

But that law'n'order fetish you got goin' on...surely that's the real reason to oppose immigration, to keep 'em out and chuck 'em out when they come anyway, right? The president-elect has more felonies on his record than a random immigrant. But they cost us money! Take money from needy Murrikinz! You're thinking of the GOP in the various legislatures. Immigrants pay taxes through their (upright & honest, or shady) employers. They're barred by law from getting any of those taxes back.

The author, unlike me, is apolitical. He has done the research and these are the facts he found. If you support immigration, read this book for talking points. There's a lot of 'em. If you don't support immigration, why the hell are you reading my reviews? If someone you care for is anti-immigrant, maybe this non-partisan voice will reach them. It sure can't hurt to try.

I'm not calm enough to care to engage with people like that. They're wrong. I needn't fuss about it because that kind of wrong loves a fight. Got nothin' left for that uselessness. If you do, great! And here's you a swiss army knife of evidence-backed facts to use in your noble work of Enlightenment.

THE RULEBREAKER: The Life and Times of Barbara Walters, clarion call to women everywhere: get out of your own way, we need you

THE RULEBREAKER: The Life and Times of Barbara Walters
SUSAN PAGE
Simon & Schuster
$30.99 hardcover, available now

Rating: 4* of five

The Publisher Says: The definitive biography of the most successful female broadcaster of all time—Barbara Walters—a woman whose personal demons fueled an ambition that broke all the rules and finally gave women a permanent place on the air, written by bestselling author Susan Page.

Barbara Walters was a force from the time TV was exploding on the American scene in the 1960s to its waning dominance in a new world of competition from streaming services and social media half a century later. She was not just a groundbreaker for women (Oprah announced when she was seventeen that she wanted to be Barbara Walters), but also expanded the big TV interview and then dominated the genre. By the end of her career, she had interviewed more of the famous and infamous, from presidents to movie stars to criminals to despots, than any other journalist in history. Then at sixty-seven, past the age many female broadcasters found themselves involuntarily retired, she pioneered a new form of talk TV called The View. She is on the short list of those who have left the biggest imprints on television news and on our culture, male or female. So, who was the woman behind the legacy?

In The Rulebreaker, Susan Page conducts 150 interviews and extensive archival research to discover that Walters was driven to keep herself and her family afloat after her mercurial and famous impresario father attempted suicide. But she never lost the fear of an impending catastrophe, which is what led her to ask for things no woman had ever asked for before, to ignore the rules of misogynistic culture, to outcompete her most ferocious competitors, and to protect her complicated marriages and love life from scrutiny.

Page breaks news on every front—from the daring things Walters did to become the woman who reinvented the TV interview to the secrets she kept until her death. This is the eye-opening account of the woman who knew she had to break all the rules so she could break all the rules about what viewers deserved to know.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Fighting misogyny, antisemitism, and the apathy of the public was one helluva training ground for becoming a powerful presence on the US cultural map. Her drive, and her zeal for journalism as a contact sport, were unprecedented in the pop culture of the 1960s. Her success was fueled by huge ambition...she would not fail in her duty to her chosen calling, like her father had done, and she would use every ounce of her will to make things happen her way.

These qualities are, annoyingly, still considered male. She out-manned the majority of men, then, and did it in a skirt and heels. It seems to me it's time to put down the bludgeon this kind of thinking represents to knock women back into antique roles that make "men" (boys, really) feel comfortable. Walters was a power in politics, a power in entertainment, and used her power to influence people to think. Even her celebrity interviews were impactful, raising or restoring some to new or renewed influence. She didn't lie to the people, she asked honest questions, and she never showed up unprepared.

The main thing I think made her a legend was her careful control...of herself, of her material, of her image. She didn't love Gilda Radner's SNL character "Baba Wawa" yet, when sending a condolence note to Radner's widower, she signed it "Baba Wawa"...and made sure this fact was known. Careful image curation is not the sole province of today's influencers. Her clarity of thought when she was at her peak was unrivaled. Even in later years her ability to present questions her audience would really like the answers to made her a popular figure on the cultural landscape.

Like all driven people, she left damage in her wake. She was rubbish as a mother, shouldn't've adopted a child; she was not a good wife, or a good partner, but there's no one to blame for that except societal expectations. No one ever whinges about the failings and failures of famous men in those regards. She was a force of nature. Those people are hurricanes, tornados, epic tsunamis. They aren't domesticated or domesticatable.

I suspect I'd've disliked the woman had I ever met her. She comes across in these interviews and the author's analysis as the kind of self-absorbed person who ignores you unless you're immediately useful. I dislike and mistrust those people. I can admire what she did without having warm personal feelings for her. Trailblazers and groundbreakers burn and break; it's in the epithets. Comfortable friends? Not likely. Powerful allies? Yes indeed, and that's enough! Adjusting expectations to match what's really there, what's on actual offer, is a key skill in the life of a person who sees a need for change and sets out to effect it.

Read this careful, honest, thorough story of one remarkable woman's life to feel inspired yourself. Gift it to your girlchild who is nosy, noisy, and obstreperous, that she may channel her talents into service. We need women to ask questions and require answers to them just like Barbara Walters did. We need women to confront idiots and show them up as idiots just like Barbara Walters did. Showing your girlchildren that it's been done, and done well, is a great way to get them to do the same.

Who knows who they'll end up photographed next to, or whose highlight reel they'll be responsible for, or whose foolishness they'll expose to end it? Barbara Walters had pages and pages and pages of evidence she had made a difference before she died. An ambition to be like her isn't a bad thing to ignite in young women.

THE SPRING BEFORE OBERGEFELL, hope in dark times...aimed directly at older gay men

THE SPRING BEFORE OBERGEFELL
BENJAMIN S. GROSSBERG
University of Nebraska Press (non-affiliate Amazon link)
$20.85 Kindle edition, available now

Rating: 4.5* of five

The Publisher Says: It’s not easy for anyone to find love, let alone a middle-aged gay man in small-town America. Mike Breck works multiple part-time jobs and bickers constantly with his father, an angry conservative who moved in after Mike’s mother died. When he’s not working or avoiding his father, Mike burns time on hookup apps, not looking for anything more. Then he meets a local guy, Dave, just as lonely as he is, and starts to think that maybe he doesn’t have to be alone. Mike falls hard, and in a moment of intimacy, his pent-up hopes for a relationship rush out, leading him to look more honestly at himself and his future.

Winner of the James Alan McPherson Prize for the Novel, Ben Grossberg’s The Spring Before Obergefell is about real guys who have real problems, yet still manage to find connection. Funny, serious, meditative, and hopeful, The Spring Before Obergefell is a romance—but not a fairytale.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: I so relate to Matteo, Mike's first RL shot at Love. Catalyzes something good and big; doesn't get to participate, too acerbic and just Too Much.

It's a curse, unless of course it's not. It felt very very good to read Dave and Mike's borning relationship.

A story set ten years ago about the challenges of forming relationships as gay men in homophobic Murrika. There has never been a moment where this subject, treated with hope, has been more welcome. We're now looking into the maw of Project 2025. *horripilation*

Nothing in this book leads me to believe the author was predicting the future as he wrote it. It's still a welcome moment of hope in a bleak landscape. Part of keeping hope alive is to feed it. The Spring Before Obergefell offers readers, gay men in particular, and older gay men for sure, a story that deals with the reality of family in this new age of darkness. There is always hope. It feels like there is not sometimes. Mike and his world...well...hope is what he found. That message trumps all the noise and chaos of the world.

BEING KIND: How to Add More Meaning to Your Moments, a clarion call to act

BEING KIND: How to Add More Meaning to Your Moments
KOBI YAMADA (illus. Charles Santoso)
Compendium (non-affiliate Amazon link)
$14.95 hardcover, available now

Rating: 5* of five

The Publisher Says: Why does kindness matter? Because there's no such thing as a small act of kindness—each one nourishes and enriches. This heartwarming book is a celebration of the part we each can play in creating a more compassionate world.

Written by New York Times bestselling author Kobi Yamada and illustrated by Charles Santoso, the creators behind the beloved Finding Muchness, this enchanting book illuminates how a simple deed can have extraordinary impact. Captivating artwork of a loveable sloth pairs with bite-sized wisdom to remind readers of the power we each have to uplift one another. It's a heartwarming invitation to be kind to someone—and to remember that you are someone too!

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: I haven't got the words to explain why kindness matters in a horrifying, cruel world that is getting rapidly crueler. Be kind to yourselves, and to each other.

We need to take care of each other. It is, now more than ever, clear we're the only ones who will.

NIGHTMARE.

Resist. Start here. This list is political books reviewed. This list is economics books reviewed. Both are updated when a new review comes out.

OCTOBER'S OCEAN, charming romantic YA story with a strong young gay lead

OCTOBER'S OCEAN
DELAINE COPPOCK
Tuxtails Publishing (non-affiliate Amazon link)
$3.99 Kindle edition, available now

Rating: 5* of five

The Publisher Says: Halloween on Jute Island is like a walking, talking costume parade. That's probably why Seth didn't notice her at first.

The old black dress, wild hair and accent didn't exactly stand out in October. But there is something about Peggy that draws Seth in. He hadn't felt anything but empty since Colin died, but suddenly he feels curious. And who is this new boy in town with ocean eyes that Seth can't look away from?

As the waves of loss threaten to pull Seth under, his love of music and his new friends might just lead him back to shore.

The Summer I Turned Pretty meets Outlander in this beautiful story of teenage love, loss and friendship.

I RECEIVED THIS AS A GIFT. THANK YOU.

My Review: I think older people are either oblivious to, or too uncomfortable to deal with, the gigantic crisis of grief young men are going through. Our in/actions have landed these culturally disadvantaged people in the midst of a life-threatening lacuna in an already thin mental-health safety net for their group. Seth is grieving his lost Colin, and he's male, so doubly not encouraged to discuss this raw, ravaging grief.

I don't think the gay youth suicide epidemic goes unnoticed anymore, but I do think its precursor states like depression and loss go vastly undertreated. If you are, or are aware of, a young person in emotional need, The Trevor Project (link above) is a resource to tap as soon as possible. Doing nothing, not acknowledging the problem or thinking it could just go away, is not a wise choice of coping mechanism. Please reach out, for yourself or to learn more about how you can extend help to your own life's Seth. The rewards are real for those who take action and so are the risks for those who don't.

The story told here is one of gaining perspective and using it to forge a new relationship to life and living with loss. I am a sour old man, well past the perspectiveless, trackless desert that is queer adolescence, so read this story as definite outsider. I was so moved. I was so happy to feel the force of Author Coppock's story. If *I* get it, feel it, am charmed by it, I can see how and understand why a gay young man in a vulnerable state would find it very comforting. We do well to comfort before we make demands of these young men...they get so little of it. The lifelong consequences are more or less invisible, it seems to me at least, and we as adults should make more and better efforts to change this.

Start small. Give this charming story to the queer lad in your orbit.

I learned of this book from its agent/editor, Erik McManus, via his YouTube channel. I'm very glad that I did because I got to enjoy a charming slightly-supernatural romantic story to fill my spooky-season reading card, and found a story that I feel is rooted in an emotional reality underacknowledged in queer culture.

QUEER AS FOLKLORE: The Hidden Queer History of Myths and Monsters, straight-peoples' anxieties and hostilities seen from the other side

QUEER AS FOLKLORE: The Hidden Queer History of Myths and Monsters
SACHA COWARD
Unbound
$25.00 trade paper, available now

Rating: 4.5* of five

The Publisher Says: Queer as Folklore takes readers across centuries and continents which reveals the unsung heroes and villains of storytelling, magic and fantasy. Featuring images from archives, galleries and museums around the world, each chapter investigates the queer history of different mythic and folkloric characters, both old and new.

Leaving no headstone unturned, Sacha Coward will take you on a wild ride through the night from ancient Greece to the main stage of RuPaul’s Drag Race, visiting cross-dressing pirates, radical fairies and the graves of the ‘queerly departed’ along the way. Queer communities have often sought refuge in the shadows, found kinship in the in-between and created safe spaces in underworlds; but these forgotten narratives tell stories of remarkable resilience that deserve to be heard.

Join any Pride march and you are likely to see a glorious display of papier-mâché unicorn heads trailing sequins, drag queens wearing mermaid tails and more fairy wings than you can shake a trident at. But these are not just accessories: they are queer symbols with historic roots.

To truly understand who queer people are today, we must confront the twisted tales of the past and Queer as Folklore is a celebration of queer history like you've never seen it before.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Funny how the stories of queerness, of love between same-sex couples, are so very often found in "monster" tales, isn't it. I mean, the rise of vampire fiction as AIDS bit gay men hard is a tough sell as coincidence. Back a way we have Dr. Fankenstein building his perfect man, who then gets all freaked out because he isn't just like the other boys; we have the enduring folktale of Beauty and the Beast, as queer a metaphor as you can find; we have the Greek gods taking outlandishly unlikely forms to get off with humans.

And that's just the Western world.

In modern times there are the just barely clothed superheroes in comic-book or filmed form, flaunting their junk in our faces at $25 a ticket or graphic novel (aka comic book) with oblivious or deeply in denial boys of all ages perving on their favorite characters' amazing prowess without seeming to have a single introspective neuron firing. These hypermasculine avatars of (mostly) toxic masculinity go around destroying things with their unstoppable powers; what better way for these theater-loads of bottoms to get their desperate need to be dominated, wrecked, brutalized met safely and without admitting to themselves their need is deeply, deeply sexual? Likewise the astonishing-to-me rise of RuPaul and drag as mass entertainment...male parodies of femininity enacted for the audience's titillated amusement. There is no filmed entertainment of any sort that doesn't rely on the universal human lust for voyeurism. If I'm at all honest, that applies to literature and reading as well.

Those sour reflections out of the way, let's talk about the *fun* of it all.

The author's done a creditable job of assembling fun examples of myths and folktales that present queerness in a framework of plausible deniability, as has ever been the case. We've always been here...just have to listen to the quiet parts in between the blaring trumpets of heteronormativity. Only in recent times have we been able to say the quiet parts out loud, and it makes the control freaks and haters absolutely wild with fury that anyone could not want to be exactly like them.

Hm. I seem not to have left the sourness behind after all. Well, take the rough with the smooth, laddies and gentlewomen. I listen to unreflective heteronormativity all day every day. Listen to how it feels to be consciously aware of the receiving end of a microaggression for a change. It's never been what you meant, it's always been what the audience hears.

The audience for this survey course in queer identity is in for a treat in terms of the author's clear desire to bring us history burnished to a mellow, shadow-melting glow of inclusion. The care with which he draws lines between what modern people mean by queerness, and the often very different understandings of gender and sexuality people held in earlier times, is both commendable and clarifying. It enables us to respond honestly from within our framework to stories coming from a different framework. It's often done anecdotally, using reports of experience, so data-driven readers might not like this narrative choice. We're in the unabahedly popular arena in this book. Applying academic rigor to the way the author informs us of the existence and the resonances of queer icons in our (Western) cultural history is unwarranted.

Breadth and anecdotality (I think I just invented that word) are both strengths and weaknesses. As always. No tool cannot also function as a weapon. I did wonder at times where the heck Author Coward found his examples of modern peoples' resonances with the stories we inherited from the foreparents. At times this is my favorite thing about the read; at others, it feels...grafted on, placed too carefully to feel entirely natural.

I am mostly unhappy, to the extent I actually am, with the absence of world cultures' representation. I understand this isn't sold or described as about world cultures, but tell me in the subtitle..."The Hidden Queer History of Western Myths and Monsters, f/ex...that I'm not getting this broader focus. I promise I'd still buy and read it. So now you know where that last half-star went.

Still a good read, still a great gift, still something I want people to know is available for their amusement and edification.