THE MARS HOUSE, latest from the ever-delightful Natasha Pulley

THE MARS HOUSE
NATASHA PULLEY
Bloomsbury USA
$15.99 ebook, available now

Rating: 4.8* of five

The Publisher Says: From the author of The Watchmaker of Filigree Street, a queer sci-fi novel about an Earth refugee and a Mars politician who fake marry to save their reputations—and their planet.

In the wake of environmental catastrophe, January, once a principal in London’s Royal Ballet, has become a refugee on Tharsis, the terraformed colony on Mars. In Tharsis, January’s life is dictated by his status as an Earthstronger—a person whose body is not adjusted to Mars’s lower gravity and so poses a danger to those born on, or naturalized to, Mars. January’s job choices, housing, and even transportation options are dictated by this second-class status, and now a xenophobic politician named Aubrey Gale is running on a platform that would make it all worse: Gale wants all Earthstrongers to be surgically naturalized, a process that can be anything from disabling to deadly.

When Gale chooses January for an on-the-spot press junket interview that goes horribly awry, January’s life is thrown into chaos, but Gale’s political fortunes are damaged, too. Gale proposes a solution to both their problems: a five-year made-for-the-press marriage that would secure January’s financial future without naturalization and ensure Gale’s political future. But when January accepts the offer, he discovers that Gale is not at all like they appear in the press. And worse, soon, January finds himself entangled in political and personal events well beyond his imagining. Gale has an enemy, someone willing to destroy all of Tharsis to make them pay—and January may be the only person standing in the way.

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My Review: This has a very "ripped-from-the-headlines" feel, like a big issues-driven Movie of the Week in the 1980s. The playfulness that the author, comme d'habitude, uses to frame her presentation of the Issues made me smile. I am particularly fond of the way she plays with the MM romance trope of a fake marriage that leads to a real relationship, in the context of a serious contemplation of the refugee crisis and the ever-increasing backlash againt gender minorities.

No one ever accused Author Pulley of lacking ambition.

Even inclusivity excludes, when it is a mandate...I am not a they, I am a he, and will resist being "they"d because of the same reasons I ask people what their not-always-obvious pronoun preference is. Like any overarching solution, it will not work for everyone...like absurd wealth disparities don't, like hypercompetition won't. And, as I expect from the author of The Kingdoms and The Secret Life of Valery K., that is the point. She invites us in to have a good, solid storytelling, then the real purpose sort of creeps up behind your chair and slaps some ropes around your wrists so you *need* to know what happens while also getting yor mind wedged open a bit.

Like the surgical "naturalization" of the Earthstrong immigrants that will artificially weaken them to make the like "real" Martians instead of merely imprisoning them in tightly binding suits...oh my goodness, the unpleasant parallels to our culture war over transness and the nature of being a "real" something. "We must PROTECT our weakest from these interlopers!" The eternal cry of the high-control fascist-leaning cultural bully. The Earthstrong immigrants have a terrible social ostracism as threats to the adapted Martians, confined to menial labor that renders their actual physical power differential a big advantage.

January, our main character, is the only character referred to by a masculine pronoun. As a former dancer, he is strong and lithe even by Earth standards. This makes him a scary monster of a beast to the adapted Martians, much less gravity having attenuated their strength and stamina. This is quite a come-down for him since he was once a principal dancer at the Royal Ballet. It does make his masculine pronoun feel simultaneously othering and fetshizing...like all perceived-stronger minorities his gender is hyperemphasized. This makes his union with Martian nativist Senator Gale, whose impromptu soundbite caused January tremendous social trouble, all the more trenchant in its commentary on the social construction of gender and the fetishization of, especially the visible, Others in a society.

Like we do with highly intentionally muscular men, heavy-breasted women whose endowments are clearly artificially augmented, and those whose skin and/or eye colors are not like the resident majority's are.

This, then, is Author Pulley at her tendentious best. The invitation to think through the role of fetishization, or simply enjoyed as the slow, rocky coming-together of two people from opposite sides of an ideological divide, is there. It is up to you which one you wish to foreground as you read the book. The interpersonal stakes are not shorted, or allowed to dominate; they are, as always in this author's œuvre, balanced carefully thus enriching each strand.

What makes the read just less than five stars for me is my rather less than enjoyment experienced by the inclusion of resurrected wooly mammoths. The entire ecological commentary is, for my money, twee and forgettable, though of course well-crafted...I just do not buy the animals' PoV bits, which thankfully are confined to footnotes. This is a facet that will delight some but did not me.

A worldbuilding tour de force, a meet-cute/fake marriage queer love story, a takedown of high-control ideology, and most of all a chance to fall in love alongside two wounded souls who had to travel from literal different planets to find their happiness.

HAKIM'S ODYSSEY: Book 3 From Macedonia to France, a graphic indictment of selfishness and greed

HAKIM'S ODYSSEY: Book 3 From Macedonia to France
FABIEN TOULMÉ (tr. Hannah Chute)
Graphic Mundi/PSU Press
$29.95 trade paper, available now

Rating: 4* of five

The Publisher Says: The end of a journey, the beginning of a new life.

—I’m Syrian, and I got here from Turkey. —Whoaaa! That’s a hell of a trip! —You could say that . . . I left home almost three years ago.

After being rescued from the Mediterranean, Hakim and his son reach European soil, full of hope. But before they can get to France, they face a new series of challenges: overcrowded detention centers, run-ins with border police, and a persistent xenophobia that seems to follow them almost everywhere they go. Will Hakim’s determination and the kindness of strangers be enough to carry him to the end of his journey and reunite his family?

By turns heart-warming and heart-wrenching, this final installment in the Hakim’s Odyssey trilogy follows Hakim and his son as they make their way from Macedonia to the south of France. Based on true events, it lays bare the tremendous effects that the policies of wealthy countries and the attitudes of their people have on the lives of the displaced and dispossessed.

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

My Review: A story I think gets too little attention in the sequential-storytelling community. A fact-based story of the dsperation that drives people to abandon homelands that no longer care to, or possess the means to, support them. The horrors of attempting to escape war. The nightmarish way "host" countries treat the newly arrived, often traumatized, families. It does not reflect well on the societies of the countries who have much and wish to share little.

The author/artist clearly went among the people in this precarious situation of being stateless, being unhoused, unwanted, unloved...

...tolerated until something changes, then shunted off to who-knows-where, it might be better, it might be worse, but it isn't here and that's what makes the "host" country happy...

...even if it means you could contract a fatal disease because you're too much trouble to house.

A shameful example before the world, and a problem that will not go away any time soon. Climate refugees are not long behind the displaced people running from the endless wars around the world.

Thinking it through via a well-done, if heavy-handed, graphic novel absolutely can rev up your giftee's empathy gearbox. It can't hurt to try.

PLANET OF CLAY, tale of the toll living exacts on the different

PLANET OF CLAY
SAMAR YAZBEK (tr. Leri Price)
World Editions
$16.99 trade paper, available now

Rating: 4* of five

The Publisher Says: An ode to fantasy and beauty in the midst of war-torn Damascus

Rima, a young girl from Damascus, longs to walk, to be free to follow the will of her feet, but instead is perpetually constrained. She finds refuge in a fantasy world full of colored crayons, secret planets, and The Little Prince, reciting passages of the Qur’an like a mantra as everything and everyone around her is blown to bits. Since Rima hardly ever speaks, people think she’s crazy, but she is no fool—the madness is in the battered city around her.

One day while taking a bus through Damascus, a soldier opens fire and her mother is killed. Rima, wounded, is taken to a military hospital before her brother leads her to the besieged area of Ghouta—where, between bombings, she writes her story.

In Planet of Clay, Samar Yazbek offers a surreal depiction of the horrors taking place in Syria, in vivid and poetic language and with a sharp eye for detail and beauty.

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

My Review: First, read this:

We needed to take two buses to reach {my mother's job} from our house, which was at the end of Jaramana Camp in southern Damascus. I am happy for you if you haven't heard of it.
–and–
Personally, I turn over the coffee tray and make it into a desk, then I pick up the blue pen which I found among the stacks of paper, and I begin. You must not set off before the sound has started. Don't stop unless you are faint from exhaustion, but it must be from exhaustion and not fear. If all this isn't done properly, I mean using the blue pen to play with words on a blank page, then my instructions will fail, the blank page won't like you, and the roar of the aeroplanes won't disappear.

The rational response to an irrational world, one filled with mortal danger, will always be different for a small child. When a small child is required to make the world make sense when it simply doesn't, such as in a war zone, there will arise adaptive responses that are in the long run maladaptive. And add in the probability of the person being neurodivergent from the get-go...well, what are the odds of that person reaching adulthood? Still less unscathed.

Rima's mother knows her daughter isn't the usual sort of child. She's got "her brains in her feet," meaning a mania for walking, walking, always walking if she can stay on her feet...in other words, a need to escape...and on one of her very first outings, so to speak, a group of well-meaning adults stop her and ask her all sorts of urgent questions...what's your name, where's your mother...that she simply can't process fast enough to answer. Thus is an elective mute created.

So now Rima's mother is living in a war zone with a manic, elective mute daughter. She does what any mother would do...she makes the medical rounds, seeking answers. Getting none, she does the thing mothers have done since the beginning of time: She improvises. She gets some rope and ties Rima to her wrist when she has to go out and, when the girl's too much of a woman for that to be safe, she ties her to their bed.

That sounds horrific to a Western person who's safe inside a house every night, with only police drones and cop cars to worry about. But think of this: How safe is a young woman on the streets here in your fat-and-happy country? You'll always teach her to be aware of the threat posed by Them. (You'll be filling in that space with the people you dislike the most, of course, but I assure you she's safer from Them than from the nice, entitled, self-satisfied boys in her school.) For someone with fewer resources than the poorest person in this country of ours, the solution fits the need admirably.

What it doesn't, can't do is prepare Rima for one of the personal calamities that even the mildest "police action" or "guerrilla war" engenders: The loss of a parent. In this case, an only parent...her father's never even been a presence for his absence to be felt. What this means is her world is effectively over. And yet her life goes on, in her mother's permanent absence and her brother's disappearance into the guerrillas' ranks.

What makes this such a perfect read for this moment is the Belarus-vs-Poland manufactured refugee crisis permeating the news cycle right now. It's a necessary and salutary reminder that the world's not in good shape, plague aside; the people, living breathing people, who are caught between two sets of disgusting racist piece-of-shit countries and who will continue to die of exposure as the world idly watches it happen, aren't going to get what they need any more than Rima did.

Mirabile dictu, Rima's brother shows up! He finds her! And they begin the refugee's eternal dance, the homeless and placeless and stateless state of being, of non-personhood. Of course to Rima it's not that way...she simply does. She lives. She is in touch with something utterly invaluable for a refugee: Her self. It is clear to her who she is, she is Rima and she reads, she sings the Qu'ran's sutras, she draws. It is a saving grace. What it isn't is easy for a storyteller to sell. She is simultaneously simple and sophisticated, ignorant and wise and way over her head.

Let me show you:

You will understand that I don't have enough time to explain to you about forgetting. Later, you can throw away whatever pages you want to. What matters to me is {the old caretaking woman} who wanted to understand how I knew how to use tartil in reciting the Qu'ran. Really, it was difficult to explain to her, because my tongue was stopped, and like {her} I don't understand much of what surrounds me.
–and–
I am a story, I too will disappear (or maybe I am with you now as you read my scattered words) like the Cheshire Cat did in the story of Alice.

That is some very sophisticated abstract thought for someone with the neurodivergence Rima has displayed...in the circumstances of her upbringing, I'd be impressed with that level of eloquent abstraction in a neurotypical young adult.

All in all, though, as a work of fiction, I was compelled by the story, by the character, by the narrative's timeliness and timelessness. I'm very impressed as this is the first work I've read by Author Yazbek. It is, as she has Rima say of her own storytelling, one of those "circular stories with intersecting centers which are only completed by retellings and new details."

The problem is reassembling my heart after the story ends....

This is a very special, very timely yet a timeless read...there is no realistic chance the subject matter will lose its relevance. It is a FINALIST for the 2021 Best Translated Literature category at the National Book Awards! The winner will be announced this evening.

THE WRONG END OF THE TELESCOPE, vintage Alameddine prose, story...what better way to start your week?

THE WRONG END OF THE TELESCOPE
RABIH ALAMEDDINE
Grove Press
$17.00 trade paper, available now

Congratulations to Author Alameddine! THE WRONG END OF THE TELESCOPE took home the 2022 PEN/Faulkner Award for Fiction! See the announcement here!

A LIT HUB FAVORITE BOOK OF 2021!

A BOOKRIOT BEST BOOK OF 2021!

Rating: 5* of five

The Publisher Says: By National Book Award and the National Book Critics’ Circle Award finalist for An Unnecessary Woman, Rabih Alameddine, comes a transporting new novel about an Arab American trans woman’s journey among Syrian refugees on Lesbos island

Mina Simpson, a Lebanese doctor, arrives at the infamous Moria refugee camp on Lesbos, Greece, after being urgently summoned for help by her friend who runs an NGO there. Alienated from her family except for her beloved brother, Mina has avoided being so close to her homeland for decades. But with a week off work and apart from her wife of thirty years, Mina hopes to accomplish something meaningful, among the abundance of Western volunteers who pose for selfies with beached dinghies and the camp's children. Soon, a boat crosses bringing Sumaiya, a fiercely resolute Syrian matriarch with terminal liver cancer. Determined to protect her children and husband at all costs, Sumaiya refuses to alert her family to her diagnosis. Bonded together by Sumaiya's secret, a deep connection sparks between the two women, and as Mina prepares a course of treatment with the limited resources on hand, she confronts the circumstances of the migrants displacement, as well as her own constraints in helping them.

Not since the inimitable Aaliya of An Unnecessary Woman has Rabih Alameddine conjured such a winsome heroine to lead us to one of the most wrenching conflicts of our time. Cunningly weaving in stories of other refugees into Mina's singular own, The Wrong End of the Telescope is a bedazzling tapestry of both tragic and amusing portraits of indomitable spirits facing a humanitarian crisis.

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

My Review: When you are faced with an overwhelming event...say, the Syrian refugee crisis of 2016...which is, in itself, the result of a series of overwhelming events outside the control of any individual who is suffering the consequences of others' bad decisions...where do you even begin to process the emotional and psychic overwhelm of the event?

In Rabih Alameddine's The Wrong End of the Telescope, you begin by finding the voice you need to make alienation, victimization, and the abjection of fleeing everything you've ever known against your will, truly personal. Enter Mina Simpson. She is a trans woman in a lesbian relationship (one thing I found ever-so-slightly on the nose was setting a lesbian's tale on Lesbos...but that's where it happened in reality) with a Haitian psychologist, and fellow Chicagoan, Francine. She is a physician summoned to help with the overwhelming floods of refugees from Syria's dissolution by her friend and fellow transwoman (but heterosexual), Emma. Also a doctor, Emma cries for help that Mina arrives to offer exactly as the Holidays result in a vast sea of wealthy-Westerner disaster tourists showing up to "do their bit" to help...Them.

Mina's life as a trans person in Lebanon was harrowing, as I expect most trans people's live are everywhere. There is so much hate directed at trans people all over the world, from every imaginable quarter, that it was a genuine pleasure to see Mina's older brother and sole remaining family member was loving, accepting, and even if not capable of going against the Will of the Family in public, honestly supportive of Mina as her real self. What it has done *for* her, however, is made her adept at navigating the undercurrents of family life. Mina's actions relating to Sumaiya, one of "Them" and possessor of a powerful will in a dying body, prove that Mina is a woman of the most beautifully tender spirit, capable of understanding that love for another can not conquer all and does not confer metaphysical or physical superpowers...but does summon forth reserves of strength that inspire awe in her, and in me.

The story isn't always obvious. I mean by that the presence of the author, Alameddine, on the page is second-person and the main character, our narrator, is addressing him. (He includes a very amusing, exaggerated self-caricature at 12% in the Kindle file that does not give him near enough credit for being so delightful a persona.) The pattern of addressing "you" in MSS is one I am generally not in favor of...I've gotten out of bed, dressed myself, and driven to a charity-box run by people I dislike to deposit a book told in second person so I wouldn't ever run across it again...but done as Author Alameddine does it here, makes me feel included, a part of a larger story. That alone would merit all five stars!

There are many other reasons I loved this read as immoderately as I did. The Lesbian setting makes the fact that this refugee crisis isn't the first in the area, bringing up events that not that many of his readers will know about like the Anatolian expulsion of the millennia-old Greek population and the tragedy of Smyrna, both in 1922 at the birth of modern Turkey. The 2016 refugee crisis, likewise a manufactured event meant to hurt vulnerable people, and similarly is still ramifying through European society (goddesses please bless the departed Chancellor Merkel for her willingness to commit to rehoming a million Syrians in Germany, however self-serving it was in light of their collapsed birth rate), though not always to Europe's credit, is powerfully involving. But they did *something* and we, in the USA, did bugger-all. Like we're doing for the Afghans we abandoned. Like we did for the Kurds we abandoned.

But I digress. And disagreeably.

Author Alameddine's Lebanese queerness allowed him to be Mina in more ways than another writer could. This results in a series of beautiful insights:

...the aforementioned Mediterranean, yes, glorious. Or was this the Aegean, which Aegeus threw himself into when he thought his son Theseus had failed against the Minotaur? The clouds were such that both the asphalt and the water had the same color, a bluish slate, the color of oxidization on copper with a tinge of periwinkle violet.

Tinges of violet...the Minotaur, who ate both boys and girls equally, whose one weakness the ineffable Theseus found by penetrating his labyrinth...the despair of a rigid father setting his son a path in life and imagining that, despite the boy's strength and his quick wits, that he has failed to achieve the father's goals for him...the clouds of obfuscation, the sense of the Present being a fog-bank and only the keenest senses can suss out the proper course (whether it be towards or away from some obstacle). And more, given that this is a moment that Mina's just arrived and is in her car, trying to navigate while overwhelmed by the vastness of clouds obscuring her path to be of service...I could go on, but why? You'll read it, you'll find your own reasons to love the words on these pages.

Mina's marriage to Francine, which she dates to thirty years before the book's events...January 9, 1986, to be precise...began when, as Mina says, she saw Francine "...{dancing} as if she was exploring her body in space." Anyone, anyone who could inspire such a sentence is a worthy object of love as well as partner in commitment! And to make Mina, the awkward and the marginal, the object of reciprocal love and attention, was a stroke of genius. How many of us have the experience of marrying in accordance with Iris Murdoch's deathless marriage (and writing) aperçu: "One should never commit oneself until one is amazed at one's luck."

Possibly the wickedest moment of the book is the ending, where the story of how the story came to be told is told at last: The question posed by psychiatrist Francine to the writer (whose "...default state of being" is whining), in her comfortable Chicago apartment:

"Have you considered writing about an American couple in suburbia to help the Syrian refugees? If you did a good job, Syrian refugees would be able to inhabit the skin of Americans, walk in their Cole Haans, empathize with their boredom and angst."

And this, more than anything else Author Alameddine wrote in this beautiful work, stopped me in my tracks. Like the people in the scene, I bolted upright. Isn't this what we who read voraciously have always claimed Literature does? Allows its devotees to live a million lives, not just focus on one (probably tedious and humdrum) little existence? I like to think it can, and does, and clearly so does Author Alameddine.

But I caution the gentleman against pursuing the Frankenstein retelling he posits...Ahmed Saadawi already staked that corner out, don't you know. (That whole scene of writerly angst and desperation was slapstick funny, and made me chortle chuckle and guffaw...thanks!)

What I'm getting at here is a simple thing: I gave this book five stars, and I think it could get the annual nod of "six stars of five," barring something else this amazing coming across my field of vision. That means, in case I'm not quite making myself clear, that I think this book belongs on your shelf, reading device, or library holds list, wherever you triage the must-read-nows of your literary life. It is profound, profoundly beautiful, and fearless in its ambitious scope and craftsmanship.

I wait for this experience every time I open a book. It is a thrill to get it.