STRAIGHT ACTING: The Hidden Queer Lives of William Shakespeare, needed corrective to heteronormativity

STRAIGHT ACTING: The Hidden Queer Lives of William Shakespeare
WILL TOSH
Seal Press
$32.00 hardcover, available now

Rating: 4.5* of five

The Publisher Says: A dazzling portrait of Shakespeare as a young artist, revealing how his rich and complex queer life informed the plays and poems we treasure today

“Was Shakespeare gay?” For years the question has sent experts and fans into a tailspin of confusion. But as scholar Will Tosh argues, this debate misses the sex, intimacy, and identity in Elizabethan England were infinitely more complex—and queer—than we have been taught.

In this incisive biography, Tosh reveals William Shakespeare as a queer artist who drew on his society’s nuanced understanding of gender and sexuality to create some of English literature’s richest works. During Shakespeare’s time, same-sex desire was repressed and punished by the Church and state, but it was also articulated and sustained by institutions across England. Moving through the queer spaces of Shakespeare’s life—his Stratford schoolroom, smoky London taverns and playhouses, the royal court—Tosh shows how strongly Shakespeare’s early work was influenced by the queer culture of the time, much of it totally integrated into mainstream society. He also uncovers the surprising reason why Shakespeare veered away from his early work’s gender-bending homoeroticism.

Offering a subversive sketch of Elizabethan England, Straight Acting uncovers Shakespeare as one of history’s great queer artists and completely reshapes the way we understand the Bard’s life and times.

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My Review: Whaaat?! You mean there's credible evidence that heteronormative readings of the Bard aren't the whole picture?! Well, I never! Next you'll tell me that William Rufus and Richard Lion-Heart *were* big ol' 'mos!

Folks...men brought Juliet, Portia, Lady Macbeth, Desdemona, et alii to life. Not because they were second best choices, or because this is boarding school and that's all there is, but because they brought these female roles vibrantly and intensely, convincingly and alluringly, to life. Actors were out in drag, making people believe, and lust for, the females Shakespeare knew as he was writing them would be played by males. He most likely had an image of who he wanted for each role. He was a man of the theatre, a playwright and actor, it would be weird if he had not.

That means...wait for it...he knew what made a man beautiful, and chose ones he knew could evoke the many, complicated responses his characters do from an audience. Including lust.

Time to stop the disingenuous "there was no such thing as gayness in Shakespeare's time! And look at all those sodomy laws! No homo, bro!" True, the entire QUILTBAG spectrum was not conceptualized then.

Because there was no need. Not like y'all heteronormative people think. There was no need in the culture to label things that didn't affect you, weren't relevant to your life. The Church was the self-appointed bedroom behavior regulator; sex lives of strangers was their job to judge and police, not some random dude on the street. This was the time of "don't make me notice you and I won't be forced to call in the law." That law, civil or religious, was Draconian. The denouncements of sodomites from the pulpit, in that god-ridden age, was as good as the Police Gazette in eighteenth and nineteenth century England was at getting the word out on who was a sodomite. But given how many men and women get up to a spot of sodomy (about 46% per good ol' Alfred Kinsey in his as-yet-unmatched surveys) we can feel sure it was the loudest, loosest, and least able (or willing) to pass by being quiet who make up the extensive case evidence in court archives the world over.

Shakespeare, operating in a world I'd call a straight guy's paradise aka the theatre, wouldn't have been much attended to as to his personal life. Married with children, no reason would've been found...unlike with Marlowe, who was aggressively Other in a time where conformity was more rigidly enforced on the surface than it is even now. His obscene plays, though no patch on PG-13 films today, his louche life of spying and, there's credible evidence to suggest, bonking the boys, all while knowingly on the radar of the Queen's secret police, was the index case for how to get yourself in bad trouble. There's a cautionary tale in Deptford. No such tale exists in our hero's life. He was rather shockingly absent from public records. He never appeared before a judge, he wasn't going to make waves...that family in Stratford needed supporting, even though he wasn't going to be there in the flesh. After all, even Will's "rival poet" Richard Barnfield, known to be author of a very explicitly homoerotic poem that he was later, when under fire from Authority for its naughtiness, glad enough to disavow, had asked for it by being indiscreet. Examples of consequences make it easy to justify internally toeing the line.

Using the technique of writing short fictional vignettes at the beginning of each chapter that set the scene for the reader will turn some off hard. I appreciated it because it wasn't presented as facts of Shakespeare's life. Still, as noted, we can't know if any of the things in those vignettes are realities Shakespeare would've experienced. As with all people long dead, we will never be possessed of certainty about his nature, his feelings, his thoughts and prayers.

This fact does not stop the heteronormies from saying, "see? see? he couldn't have been queer!"; as always, ignoring the giant flaw in their reasoning: Absence of evidence isn't evidence of absence.

Was he, wasn't he, will we ever know ye , Will?

Nope. And that's okay. It's got to be. There can never be a fully known person of his five-hundred-years-gone era. The evidence for his bisexuality and attraction to other men is all over his work. But it can never be proof, either to the heteronormies or the queering crowd.

Enjoy this excavation of sex, sexual identity, and societal accommodation of gender and sexual minorities in Shakespeare's time, and then think your own thoughts about him. He certainly won't care.

WHAT TIME THE SEXTON'S SPADE DOTH RUST, eleventh (!) in the Flavia de Luce mystery series

WHAT TIME THE SEXTON'S SPADE DOTH RUST (Flavia de Luce #11)
ALAN BRADLEY
Bantam Books
$28.00 hardcover, available now

Rating: 4* of five

The Publisher Says: Flavia de Luce has taken on the mentorship of her odious moon-faced cousin Undine, who has come to live at Buckshaw following the death of her mother. Undine’s main talent, aside from cultivating disgusting habits, seems to be raising Flavia’s hackles, although in her best moments she shows potential for trespassing, trickery, and other assorted mayhem.

When Major Greyleigh, a local recluse and former hangman, is found dead after a breakfast of poisonous mushrooms, suspicion falls on the de Luce family’s longtime cook, Mrs. Mullet. After all, wasn’t it she who’d picked the mushrooms, cooked the omelet, and served it to Greyleigh moments before his death? “I have to admit,” says Flavia, an expert in the chemical nature of poisons, “that I’d been praying to God for a jolly good old-fashioned mushroom poisoning. Not that I wanted anyone to die, but why give a girl a gift such as mine without giving her the opportunity to use it?”

But Flavia knows the beloved Mrs. Mullet is innocent. Together with Dogger, estate gardener and partner-in-crime, and the obnoxious Undine, Flavia sets out to find the real killer and clear Mrs. Mullet’s good name. Little does she know that following the case’s twists and turns will lead her to a most surprising discovery—one with the power to upend her entire life.

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

My Review: Re-entering the fantasy world that is Buckshaw under the sole, legal rule of Flavia de Luce was...shocking, really. I know it's been four, maybe five years since I read the last one, but howinahell did I suspend disbelief for nine, or was it ten?, books with a kid behaving like an adult? And getting away with it?! No one, not one soul, seems to think "someone ought to be responsible for this kid's social development" and that makes me really unhappy.

So the hill of disbelief needed reclimbing. It was a trudge.

I was, about a third of the way in, ready to give up and Pearl-Rule this bad boy. I didn't because my memories of pleasures past were strong. Sort of literary ex-sex. I'd mostly forgotten the dramatis personae, so it took a while to get my eye back in on Undine...insufferable brat...Dogger, Mrs. Mullet, and Daffy, the last of Flavia's siblings still at Buckshaw.

The characters urging Flavia to get bratty, tantrum-prone Undine some kind of counseling are feeding into the idea that Flavia is, somehow or other, functionally an adult. As a smart kid myself...I read the Encyclopedia Brittanica for fun between the ages of nine and twelve...I'm here to say Flavia's smarts are believable but her emotional maturity, as far as it goes, is not. Her quite justified resentment of her older sisters, unengaged in her development apart from the expected sibling ugliness, shows the limitations of a fantasy of liberated childhood. It makes Flavia come across as far too adult for her not to pursue the earlier nastiness against now-married Feely and soon-to-depart Daffy, university bound bookworm and seemingly uninterested last sister.

So...Undine. She's a cousin, also orphaned, whose antics affect Flavia as her own antics affected Feely and Daffy in earlier books. She's the embodiment of the Parents' Curse: "May you have a child exactly like you, only moreso." Undine makes her value to Flavia obvious by getting and giving to her a very relevant clue to solving the puzzle set in this book. Mrs. Mullet...the suspect needing Flavia's help this time...that one's a very, very deep pool, and much more than has met the eye heretofore. But let's go outside the fantasy realm for a moment, what kind of awful effects does leaving what I'd honestly describe as a badly damaged by neglect kid in charge of one of the same create? Undine (every time I type her name I get frissons of Undine Spragg, from Wharton's The Custom of the Country and her ghastly, entitled 'tude that ends so very badly) needs, much like Flavia did, custodianship, not the gentle and lovely guidance (as opposed to rules and standards) of servants like Dogger and Mrs. Mullet. Really, though, that's the practical adult speaking, not the series reader.

Observant souls, all three of y'all, will note I said "did" above. That's due to my response to the Big Honkin' Twist near the end. No, I won't spoil it, but suffice it to say this really changes everything. I honestly had to talk myself down off the Pearl-Rule ledge again when I got there.

So how came I to give the book four whole stars? It sounds like I'm ready to rip it a new one, doesn't it? I might have. It was a close thing a couple times. I've said in lots of different places that I don't do a lot of re-reading. I have so many books that I will die with a lot unread. This was not always the case. When I was being "raised" by a neglectful, when she wasn't abusive mother, I read and re-read uncounted times Dodie Smith's 1956 novel The Hundred and One Dalmatians. Not the Disney-fied version, I hasten to add. That bowdlerized abomination is an affront to the rescue fantasy so brilliantly penned by the delightful Smith. This series is a forceful evocation of my own tween years, managing a world I wasn't prepared for without support and while dealing with absent or actively unhelpful siblings. I'm sucked in by this extraordinarily gifted kid's clever management of her world, doing so well that no one thinks a thing of enabling it further. I wasn't so good at it, this being reality...but it's a fun way to revise my life in my entertainment.

Don't start with this one, but if you left the series and forgot why you started it, jump in. You really didn't miss much in between, and this one's fun...from the proper series-reader perspective. Take off the rational grown-up hat.

THE FLAVIA DE LUCE SERIES: I AM HALF-SICK OF SHADOWS (#4); SPEAKING FROM AMONG THE BONES (#5)

I AM HALF-SICK OF SHADOWS (Flavia de Luce #4)
ALAN BRADLEY
Delacorte Press
$4.99 ebook editions, available now

ORIGINALLY REVIEWED ON LIBRARYTHING CHRISTMAS 2011

Rating: 4* of five

The Publisher Says: It’s Christmastime, and Flavia de Luce—an eleven-year-old sleuth with a passion for chemistry—is tucked away in her laboratory, whipping up a concoction to ensnare Saint Nick. But she is soon distracted when a film crew arrives at Buckshaw, the de Luces’ decaying English estate, to shoot a movie starring the famed Phyllis Wyvern. Amid a raging blizzard, the entire village of Bishop’s Lacey gathers at Buckshaw to watch Wyvern perform, yet nobody is prepared for the evening’s shocking conclusion: a body found strangled to death with a length of film.

But who among the assembled guests would stage such a chilling scene? As the storm worsens and the list of suspects grows, Flavia must ferret out a killer hidden in plain sight.

I CHECKED THIS BOOK OUT OF MY LOCAL LIBRARY. USE THEIR SERVICES OFTEN, THEY NEED US!

My Review: Flavia de Luce does Christmas. Buckshaw, Bishop's Lacey, is now the scene of Ilium Films's new Phyllis Wyvern extravaganza, The Cry of the Raven. The film company has paid the desperately strapped-for-cash Colonel Haviland de Luce a sizable sum to use Buckshaw as the backdrop for this bound-to-be-mega hit, which means Christmas will be spent with an entire film crew up the family's collective backside. Flavia meets the famous Miss Wyvern as she enters the house, charming as cheesecake on a plate of strawberries, even winning the adulation of the normally suspicious Flavia by demonstrating her apparently genuine interest in matters of murder: She quotes from the dreadful gossip sheet Illustrated London News about a recent scandalous killing. Well then!

Not long after the lady's arrival, the cast and crew and director make their various appearances, as does the Vicar, with a modest proposal: He'd like famous movie star Wyvern to appear as Juliet, her star-making role, in a village fete in aid of the church roof's repair. To absolutely universal astonishment, Miss Wyvern agrees, and the plot begins to spin faster and faster. Since the hairpins have begun to fall, and Miss Wyvern's true meanness is revealed, the fact that she's murdered by someone present at Buckshaw after the fete...which includes just about the whole village, since a blizzard's blown in, sealing all the audience in Buckshaw's foyer...comes as no surprise whatever.

Even though the bloom has gone off the rose of Flavia's admiration for the lady, a murder under her own roof is simply too much to resist meddling in! And meddle she does, searching the victim's room and even standing in at the post-mortem examination of the body. Flavia, though, is callously shut out by Inspector Hewitt of the Hinley P.D., as is his wont. He has, thinks Flavia, personal animus against her now, as Flavia made a terrible break at tea taken in the Hewitt home.

But in the end, Flavia solves the horrible, tawdry crime, and fails to become the next murder victim herself by dint of one of her chemistry experiments designed to trap Santa Claus on his way to the chimney, thereby disproving her horrible, heartless sisters's claims that there is no Santa. And, at the very tippy-end of the book, Buckshaw's future at the hands of the tax receivers is probably averted thanks to the very play that caused the Christmas crisis to begin with...a lovely, deft scene that wrapped up an end I was really ticked about having loose.

Merry Christmas indeed, Flavia.

Every series needs a Christmas book. This is it. If you liked the others, this one will please you; but it has the standard plot-hole and plausibility flaws. If they didn't tick you off before, they won't now, either. Happy Holidays!

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


SPEAKING FROM AMONG THE BONES (Flavia de Luce #5)
ALAN BRADLEY
Delacorte Press
$4.99 ebook editions, available now

ORIGINALLY REVIEWED ON LIBRARYTHING FEBRUARY 2013

Rating: 3.9* of five

The Publisher Says: Eleven-year-old amateur detective and ardent chemist Flavia de Luce is used to digging up clues, whether they’re found among the potions in her laboratory or between the pages of her insufferable sisters’ diaries. What she is not accustomed to is digging up bodies.

Upon the five-hundredth anniversary of St. Tancred’s death, the English hamlet of Bishop’s Lacey is busily preparing to open its patron saint’s tomb. Nobody is more excited to peek inside the crypt than Flavia, yet what she finds will halt the proceedings dead in their tracks: the body of Mr. Collicutt, the church organist, his face grotesquely and inexplicably masked. Who held a vendetta against Mr. Collicutt, and why would they hide him in such a sacred resting place? The irrepressible Flavia decides to find out. And what she unearths will prove there’s never such thing as an open-and-shut case.

I CHECKED THIS BOOK OUT OF MY LOCAL LIBRARY. USE THEIR SERVICES OFTEN, THEY NEED US!

My Review: The ending threw me a curve.

The middle was a busy muddle.

The beginning was a laugh a minute.

And I enjoyed it all. I didn't know who the murderer was, and when revealed I was a bit surprised I hadn't thought of that. I was mildly ticked that, at the ending of the book after the murderer was disposed of, a loose end wasn't tucked tidily away but rather left to be part of the cliffhanger resolution. If Mr. Bradley should happen to pass into his Eternal Reward before the next book is completed and edited, I shall engage every root woman and witch doctor and psychic and spiritualist I can locate to hound the rotter into spirit-writing it.

So, since I'm usually a tartar about judging cozies, demanding the characters and the plot mesh, why am I still reading these somewhat ramshackle novels? After all, the murderer's identity isn't at all well set up, and the red herrings are ummm far-fetched, and the propulsive event is barely, barely set up and then ignored.

Yeah, well, cozies are about characters and about a species of ma'at maintenance, and these novels deliver all the pleasures of those qualities in spades, doubled. Bradley's quite improbable little genius Flavia de Luce is a pill of the first water, a know-it-all, and a little girl on the edge of some enormous growings-up that all of us who've passed through adolescence can empathize with. Her passive, defeated father, her cruel sisters, her delightful world of Buckshaw with its fully equipped chemistry lab and its decaying splendor, and the people of Bishop's Lacey, all mix together into an immersive Barsetshire-esque experience of enfolding charm and warmth.

This is the fifth book, don't begin here if you're picking up a new series as too much will be a spoiler for some payoff surprises in earlier books. But should you pick up the series at all? Hmmm. Don't, if you're a puzzle-solver; don't, if you have to have a sleuth whose abilities and access are believable; do, if you're after the aforementioned immersive experience.

But, if you do read the book, I defy you not to laugh at the fate of the Heart of Lucifer.

THE FLAVIA DE LUCE SERIES: THE SWEETNESS AT THE BOTTOM OF THE PIE (#1); THE WEED THAT STRINGS THE HANGMAN'S BAG (#2); A RED HERRING WITHOUT MUSTARD (#3)

THE SWEETNESS AT THE BOTTOM OF THE PIE (Flavia de Luce #1)
ALAN BRADLEY
Delacorte Press
$4.99 ebook editions, available now

ORIGINALLY REVIEWED ON LIBRARYTHING OCTOBER 2009

Rating: 3.5* of five

The Publisher Says: It is the summer of 1950–and at the once-grand mansion of Buckshaw, young Flavia de Luce, an aspiring chemist with a passion for poison, is intrigued by a series of inexplicable events: A dead bird is found on the doorstep, a postage stamp bizarrely pinned to its beak. Then, hours later, Flavia finds a man lying in the cucumber patch and watches him as he takes his dying breath.

For Flavia, who is both appalled and delighted, life begins in earnest when murder comes to Buckshaw. “I wish I could say I was afraid, but I wasn’t. Quite the contrary. This was by far the most interesting thing that had ever happened to me in my entire life.”

I CHECKED THIS BOOK OUT OF MY LOCAL LIBRARY. USE THEIR SERVICES OFTEN, THEY NEED US!

My Review: This delight is a debut mystery! A debut mystery, if you please, and a Crime Writers of America Dagger Award winner, and written by a Saskatooni writer, and just flat funny.

Whatever they do to the water in Saskatoon, they should do it to some Murrikin cities that're famous for nothing (eg, Dubuque or Terre Haute) so's they can make their mark on the cultural landscape. Bradley and Bidulka haling from the same city...what up with that?!

Flavia de Luce is an eleven-year-old chemistry prodigy, daughter of an extraordinary vanished mother and a reclusive abasent father, youngest of three sisters who are each at difficult ages. She's the most outgoing of the three, she's the most determined and organized and intellectually gifted of them, and alone among her family is not paralyzed by her upbringing. Her determination to prove her father innocent of a murder which takes place directly below her bedroom window is absolute and unshakable. She succeeds because she's a) smart b) stubborn and c) "just a girl" so unthreatening to anyone...except the murderer, who takes her very seriously indeed.

Flavia's dry-martini humor is old for her age, but she's presented from the get-go as old for her age in some very believable ways. Her intellectual capacities are also presented in such a way as to be part and parcel of a believable character. I like this book, it flew past me at a breezy 50mph and hooked me into its slipstream. I suspended disbelief the moment I met Flavia, and the author rewarded me with a very enjoyable afternoon. I'll read the next Flavia book, "Tied Up with Strings" (which I pray is only a working title, it's just gawdawful!) when it comes out from Bantam in 2010.

Go on, give it a try. You'll be surprised how easy it goes down!

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


THE WEED THAT STRINGS THE HANGMAN'S BAG (Flavia de Luce #2)
ALAN BRADLEY
Delacorte Press
$4.99 ebook editions, available now

ORIGINALLY REVIEWED ON LIBRARYTHING JULY 2010.

Rating: 4* of five

The Publisher Says: From Dagger Award-winning and internationally bestselling author Alan Bradley comes this utterly beguiling mystery starring one of fiction's most remarkable sleuths: Flavia de Luce, a dangerously brilliant eleven-year-old with a passion for chemistry and a genius for solving murders. This time, Flavia finds herself untangling two deaths—separated by time but linked by the unlikeliest of threads.

Flavia thinks that her days of crime-solving in the bucolic English hamlet of Bishop’s Lacey are over—and then Rupert Porson has an unfortunate rendezvous with electricity. The beloved puppeteer has had his own strings sizzled, but who’d do such a thing, and why? For Flavia, the questions are intriguing enough to make her put aside her chemistry experiments and schemes of vengeance against her insufferable big sisters. Astride Gladys, her trusty bicycle, Flavia sets out from the de Luces' crumbling family mansion in search of Bishop's Lacey's deadliest secrets.

Does the madwoman who lives in Gibbet Wood know more than she’s letting on? What of the vicar's odd ministrations to the catatonic woman in the dovecote? Then there's a German pilot obsessed with the Brontë sisters, a reporachful spinster aunt, and even a box of poisoned chocolates. Most troubling of all is Porson’s assistant, the charming but erratic Nialla. All clues point toward a suspicious death years earlier and a case the local constables can’t solve—without Flavia’s help. But in getting so close to who’s secretly pulling the strings of this dance of death, has our precocious heroine finally gotten in way over her head?

I CHECKED THIS BOOK OUT OF MY LOCAL LIBRARY. USE THEIR SERVICES OFTEN, THEY NEED US!

My Review: These are cute, cute, cute books! I don't buy it, a kid being this kind of smart, but I don't care. The plot's a little on the thin side, but I don't care. The fun of these books is the delightful fantasy of Eng-er-land post-WWII seen through the eyes of eleven-year-old Flavia, daughter of decayed privilege.

The murdered man, a puppeteer/drug dealer, *richly* deserved killing, which always makes a mystery more fun for me. His relict, of sorts, is of course a suspect, but her Delicate Condition (which Flavia suspects, and confirms by a chemical test that I'd never heard of before) ends up eliminating her...and shortly after she is in the clear, she buggers off somewhere...but I suspect that she'll be back.

The murderer, when identified, made me smile. I was so hoping the guilty party would be who it turned out to be, since I took an instant and complete aversion to that person. Not always a reliable indicator of guilt, but in this case...! Yippee!

So why read this? Because it's fun. Because it's frothy. Because it's summer, and because it's worth a few hours of your time to escape your ordinary world for the exciting world of Flavia de Luce.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


A RED HERRING WITHOUT MUSTARD (Flavia de Luce #3)
ALAN BRADLEY
Delacorte Press
$4.99 ebook editions, available now

ORIGINALLY REVIEWED ON LIBRARYTHING DECEMBER 2011

Rating: 4.125* of five

The Publisher Says: Alan Bradley, author of the most award-winning series debut of any year, returns with another irresistible Flavia de Luce novel

In the hamlet of Bishop’s Lacey, the insidiously clever and unflappable eleven-year-old sleuth Flavia de Luce had asked a Gypsy woman to tell her fortune—never expecting to later stumble across the poor soul, bludgeoned almost to death in the wee hours in her own caravan. Was this an act of retribution by those convinced that the soothsayer abducted a local child years ago? Certainly Flavia understands the bliss of settling scores; revenge is a delightful pastime when one has two odious older sisters.

But how could this crime be connected to the missing baby? As the red herrings pile up, Flavia must sort through clues fishy and foul to untangle dark deeds and dangerous secrets.

I CHECKED THIS BOOK OUT OF MY LOCAL LIBRARY. USE THEIR SERVICES OFTEN, THEY NEED US!

My Review: Flavia de Luce of Buckshaw, Bishop's Lacey, is in it up to her neck again in this third outing of Alan Bradley's wildly popular series. This time she burns down a gypsy woman's fortune-telling tent, takes the woman home over her father's presumed objections, and then finds the lady bludgeoned almost to death in her caravan.

Next up is a meeting with the gypsy's semi-estanged granddaughter, deliciously yclept Porcelain, whose surprise presence in the crime-scene caravan causes Flavia to be assaulted and, subsequently, to invite the woman home with her. While escorting the younger gypsy into Buckshaw, her rambling, underheated Stately Home, Flavia espies a for-sure corpse dangling from Poseidon's trident. (That's one of Buckshaw's fountains, not the real Poseidon, of course.) It proves to be local ne'er-do-well and remittance man Brookie Harewood, last seen slouching about in Flavia's drawing room! Will the wonders never cease!

No, in fact, they won't, and Bradley spins a net for every red herring imaginable as Flavia encounters forgers, thieves, religious dissenters called Hobblers who baptize babies a la grecque (by dipping the little angels into running water by one heel), long-lost smelly men, reams of chemistry textbook stuff that manages not to make the reader's eyes roll back in their sockets,and murderers. Mustn't overlook the murderers.

One empathizes with Colonel de Luce, widower and soon-to-be bankrupt. He has a precocious daughter. Poor bastard.

Whatever else it is, this book is fun. It's just plain old-fashioned chuckle-inducing fun. It's a little ramshackle, what with the plot holes and all, and the behavioral improbability index starts high and never comes down, but so what? Flavia's chemistry fetish caused me to smirk a bit in the first book, The Sweetness at the Bottom of the Pie, and her all-around precocity wasn't helping stuff. I found the Colonel to be an absurd character, someone directly from the Wodehouse Warehouse. There just isn't enough vitriol to heap on Flavia's horrid sisters, Ophelia and Daphne (Feely and Daffy to Flavia).

But here's the thing: Each of these characters is reported in Flavia's first-person, eleven-year-old perspective. Keep that in mind, and there is a sudden SNAP as the lenses in the optometrist's big, black machine fall into place: “Better now, or now?”

And that's when you should read these books: Now.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

A MUZZLE FOR WITCHES, probably the last time we'll get to hear from a feminist ikon

A MUZZLE FOR WITCHES
DUBRAVKA UGRESIĆ (tr. Ellen Elias-Bursać)
Open Letter Books
$14.95 trade paper, available tomorrow

Rating: 4.5* of five

The Publisher Says: Winner of the Neustadt International Prize for Literature As with the rest of her literary career, Dubravka Ugresić's final work, A Muzzle for Witches, is uncategorizable. On its surface, the book is an conversation with the literary critic Merima Omeragić, covering topics such as "Women and the Male Perspective," "The Culture of (Self)Harm," and "The Melancholy of Vanishing."

But the book is more than a simple interview: It's a roadmap of the literary world, exploring the past century and all of its violence and turmoil—especially in Yugoslavia, Ugresić's birth country—and providing a direction for the future of feminist writing.

One of the greatest thinkers of the past hundred years, Ugresić was one-of-a-kind, whose novels and literary essays pushed the bounds of form and content, and A Muzzle for Witches offers the chance to see her at her most raw, and most playful.

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

My Review: "Raw and playful" are not frequently paired in a publisher's synopsis. In this outraged, affronted growl, they're two of the best words for Ugresić's œuvre as a whole, and this last distilled, refined-to-purity last work in particular. Her métier was the essay, I've even said before the screed, and this one-sitting book is a great way to get one's eye in to the tenor of her work.

It's quite an achievement to call out, I'd venture to say even to take down, the sexist, fascist Establishment that's controlled...notionally, in her case...the course of both life and career, while being amusing. Mordantly so, but amusing nonetheless. Author Dubravka does this trick regularly. I'm very impressed by this because it means her focus is not on her topic of outrage. The outrage is there, but unlike the literature of grievance that grows so stale so very quickly. Jeremiads are so deeply tedious as anything except a light seasoning on top of one's regular reading.

The title of these collected interviews with a literary critic from Croatia, Merima Omeragić, is a call-out to the (male-dominated) Croatian establishment's characterization of her as a "witch" when her anti-war attitudes got her hounded into exile in 1993. "Muzzle me, you dickheads?" one can hear her thinking in this title. I do not know if she chose it, but it certainly captures her acerbic, flensing-knife wit.

What we, as a literary society, lost on her 2023 death, was an acute observer...better to say "witness" of the Ship of Fools we're riding on. Dubravka Ugrešić saw it from her berth in Second Class, where she was assigned, but never, ever stayed. Her head was the Imperial Suite's sole occupant. She saw right through the oppressive systems designed to reduce her to a compliant drone, a life support system for a uterus.

We need this voice as a society. The women who vote in the 2024 US elections should read this, and other feminists of an earlier generation, because their privileges are not secure when their very rights to bodily autonomy are being rolled back at a great rate of speed.

MURDER AT THE MATINEE, second quozy Bertie Carroll mystery...good fun!

MURDER AT THE MATINEE
JAMIE WEST
Brabinger Publishing (non-affiliate Amazon link)
$4.42 Kindle edition, available now

Rating: 4* of five

The Publisher Says: Following on from the success of Death on the Pier, gay playwright detective Bertie Carroll returns for the second book in this golden-age-style whodunnit series, set in the exciting world of theatreland in 1930s London.

An unexpected phone call from a rival playwright puts Bertie centre stage in another mystery. Can he help unravel the motive behind a mysterious newspaper advert that boldly declares a murder will take place during a show’s third act? There’s only one problem, there is no murder in the third act of the play!

When a victim is discovered and the police are brought in, Bertie and Inspector Hugh Chapman get thrown awkwardly back together as they both work to find the killer.

The spotlight falls on each suspect in turn and, this time, even Bertie is not above suspicion. But can rivalries and differences be put aside to solve this devious murder?

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

My Review: A riff on Dame Agatha's A Murder is Announced, this quozy story of Bertie Carroll coming to the aid of frenemy Alice, with his...well, his policeman Hugh there to do...rather less than in the first book; and then narrowly miss out on taking a starring role in the murder as a suspect so that comes out okay.

The reason that sounds incoherent is that I felt more at sea this time than last. How is it Hugh, clearly being set up as Bertie's Gentleman Caller, recedes more into the background? I wasn't expecting grand passion, it may be set in the theatre world but it's 1930s London so discretion was all. However Hugh and Bertie weren't as bantering-mates-with-subtext this time. That was disappointing. I suspect we'll get more of the bantering, and maybe even that mooted swim from the first book, in the next one.

I was pretty clear on who killed Alice but really didn't know why until the polyphonic ending unfolded. This was more than enough to satisfy my series-mytery reader brain. The first book's adeptness at scene-setting that transported me, this time, to 1930s London (instead of the first book's Brighton) is very much in evidence again. The author is a theatre professional. It's clear he's also willing to do careful research into the past. It is always a pleasure to read the words of someone who presents the world being evoked with such panache and confidence.

Aside from missing more Hugh-time for Bertie and me, I felt the mystery was satisfying my series-story craving enough to get a solid four stars. I probably wouldn't have been as generous if I'd read this book first, so read Death on the Pier (my review linked above) before this. But don't miss out. Bertie and Hugh will wile away a few hours while you're focused on the made-up problems of fictional people.

SKY FULL OF ELEPHANTS, debut novel with ideas that have real power

SKY FULL OF ELEPHANTS
CEBO CAMPBELL
Simon & Schuster
$27.99 hardcover, available now

Rating: 4.5* of five

The Publisher Says: In this exquisite speculative novel set in a world where white people no longer exist, college professor Charlie Brunton receives a call from his estranged daughter Sidney, setting off a chain of events as they journey across a truly “post-racial” America in search of answers.

One day, a cataclysmic event occurs: all of the white people in America walk into the nearest body of water. A year later, Charles Brunton is a Black man living in an entirely new world. Having served time in prison for a wrongful conviction, he’s now a professor of electric and solar power systems at Howard University when he receives a call from someone he wasn’t even sure existed: his daughter Sidney, a nineteen-year-old who watched her white mother and step-family drown themselves in the lake behind their house.

Traumatized by the event, and terrified of the outside world, Sidney has spent a year in isolation in Wisconsin. Desperate for help, she turns to the father she never met, a man she has always resented. Sidney and Charlie meet for the first time as they embark on a journey across America headed for Alabama, where Sidney believes she may still have some family left. But neither Sidney or Charlie is prepared for this new world and how they see themselves in it.

When they enter the Kingdom of Alabama, everything Charlie and Sidney thought they knew about themselves, and the world, will be turned upside down. Brimming with heart and humor, Cebo Campbell’s astonishing debut novel is about the power of community and connection, about healing and self-actualization, and a reckoning with what it means to be Black in America, in both their world and ours.

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

My Review: Well, this was a read and a half. A fantasia, an attempt to view the culture of privilege and prejudice confronted by a man and the mixed-race daughter he never knew he had in the wake of white peoples' mass lemming-like vanishing.

Now, let me bring something up: This is in no way some triumphalist "wouldn't it be cool if all the white people vanished?" racist fantasy. It isn't that kind of facile storytelling, or revenge fantasy. It's a fantasia on the inscrutable ways of the Universe, an unknowable, unfathomably powerful external force that, this time, spared you; but...Amid the reorgaization of society, there's that unease that comes from an unresolved stressor, like the Bomb in the Cold War.

A lot like Le Guin's The Dispossessed, A Morally Ambiguous Utopia, the ideas in this story are heady indeed. The overculture in each of these different stories presupposes the existence of a hegemonic economic system that can only be opposed not reimagined. In Author Campbell's story, the presumption includes the fact that when whiteness and its (largely) unexamined privilege vanish, the enforcement of the hegemonic capitalism dies. Is everything suddenly perfect? No, but it's free from many of the more abusive qualities of capitalism and racism. I myownself am not quite so confident that capitalism would wither so completely or so quickly; it's too effective a tool of control, that most human of needs. Leaving that aside, the Brave New World presented feels...right, just, positive. I say this as someone explicitly excluded from this world. That fact is, I suspect, what led a LOT of whiny little butthurt arrested adolescents to ratings-bomb the book on Goodreads. Such arrant nonsense makes Author Campbell's premise's point for him. It also embarrasses me, an old white man, to be relegated among such angry, hateful, immature people.

The author's imagination, then, can't be faulted. This is his debut novel, so technique is logically enough less well-honed than his idea-generating musculature. I kept saying to my DRC, "Please don't explain so much to me. Trust that the stories you've imagined so richly will, in fact, lead me where you're wanting me to go. Conflicts whose roots and results you carefully elucidate aren't tense enough to keep me eagerly reading." I'm confident this can be attributed to his tyro status. I'm also very eager to read his next work when it comes out.

The ending of the story, while not exactly a release from tension, does flow from the events of the preceding action. It felt...I'm not sure "inevitable" is precisely correct, but it has the leadenness of affect I want to convey.

I've rated the book with four stars because I was brought up short and required to consider the ideas of the story multiple times. Good SF/F does that wonderful job better than any other form of storytelling.

This is good SF. That explains the other half-star.