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This version is based on the manuscript, rediscovered in 2017, from before the magazine editors started chopping out all the scandalous bits. The censored short version that was used against Wilde at his trial was then censored more when it was expanded into a full novel.

So now we get to see Wilde's original baby! Despite the censored version still causing a scandal and being used to convict Wilde, this is of course still tame by modern day standards (alas, where is my purity!) but far more explicit when it comes to things like Basil's romantic affection for Dorian. It's certainly fascinating to see what was triggering the poor little editor (being far more concerned about illicit hetero affairs than the gay stuff!) and also the stylistic changes. But either way, like much of Wilde's writing, it can't go a page or two without a little monologue of his witticisms - something I always look forward to!

This is some fascinating research on the experiences of trans men (stealth and open) in the workplace, covering aspects of discrimination, transphobia and masculine societal norms. While a lot of it is well known to anyone experiencing it, the broad academic work here is very useful and can certainly open your eyes to things that you may take for granted or haven't had firsthand.

Much of the work is broadly intersectional, taking into account the varying experiences, such as the impact on race on workforce dynamics. It also contrasted some very different experiences of trans women and how those can reflect on societal attitudes around gender.

I was noting a lot of sections of this book, but I do have to just include below a few of my favourite lines concerning the leveraging of masculinity and homophobia against other men in order to deflect potential transphobia;

Robert has grown comfortable using a urinary device at urinals in public restrooms: "Men are not going to look down at my crotch because this society is homophobic." [...] Homophobia is a powerful social control mechanism, particularly in intimate, all-male spaces such as the bathroom or locker room.

Johnny goes further, saying he would call someone "gay" if they questioned him or looked at him too long in the bathroom. "It would shut him up pretty quickly because no guy wants to be questioned about their sexuality, especially in the males' restroom."

When men asked Peter about his chest scars, he said they were intentional scarification—a subcultural form of body marking. He notes, "They thought it was cool and hard-core." These responses fit with idealized masculinity: stoically dismissing pain.

This is a cyberpunk noir novella about a trans woman who returns to her anarchist commune in the decaying remnants of Kansas City. Dora is as unwelcome as her parting shots were when she stormed out years ago, but now she's the only one who can solve the murder of her ex. Caught between two warring pharmaceutical companies, Dora faces shadows of her past.

I thought this was a lot of fun and really had a good noir vibe to Dora's perspective. Given it's quite short, I think there was an opportunity to add a little more to make her a little more well-rounded, flesh out the supporting characters a bit and add more dynamics to the commune (as much as I feel this with every novella, I'm starting to like the simplicity that comes with brevity). I did nevertheless enjoy it and it was paced well for its length. Avoiding spoilers here, but I also liked the trans take on a particular old sci-fi trope and how it played into a good discussion about the nature of identity.

In an alternate 1883, The Veil between the living and the dead thinned and purple-eyed mediums speak with the dead under the auspices of the Royal Speaker Society. That is, male purple-eyed mediums; women born with those spiritual eyes are barred from spirit work and are treated as nothing more than breeding stock for the Speakers regardless of their age.

Enter 16yo Silas, to be married off by the end of the year. Despite having those valuable purple eyes, Silas isn't a perfect daughter, or even a daughter. A lifetime of being bullied into masking his autism, his transness and his proficiency in surgery has left him desperate to escape. But when his attempt to flee is uncovered, he is thrown into a brutal asylum for women suffering from a vague "Veil sickness". There, the spirits of women murdered within its walls beg for help, and for Silas to run before it is too late.

Despite the fantastical elements, all of this tracks very closely to the brutal Victorian practices on surgery and mental health. Despite a lot of horror around beatings and vivisection, I felt most chilled by the constant thread of helplessness. The helplessness that comes from never being believed simply for who you are, of having everyone you could turn to being complicit in your horror, and being constantly weighed down by a lifetime of abuse for who you are.

I felt deeply for Silas and the women imprisoned there and the book expertly conveys Silas' internal doubts and fears. I felt trapped alongside him which perhaps also shows how deeply personal some of these themes can be.

Becky Chambers makes me cry again, this time in a hope punk novella about existence and purpose. Long ago, humanity's Factory Age ended when robots suddenly gained consciousness and decided to leave. Humanity respected their agency and choice, allowing them to leave into the wilderness and legend while restructuring human civilization into a sustainable, solarpunk society.

Sibling Dex is a tea monk, going from town to town offering people their ear, their counsel and the perfect cup of tea to soothe their worries. But Dex themself feels an emptiness and pain; they feel guilty for not being happy in a life which - on the face of it - gives them everything it should. This inner conflict they keep from those they help really resonated with me from the very start.

Hoping to find an answer in anything but their routine, Dex goes off track into the wilderness. There, they bump into the first robot to meet a human in centuries, Mosscap. Through its wide-eyed excitement at learning about humanity again, seeks an answer to a query the robots have about humans: what do people need? In such a short space, Chambers beautifully cuts through to our inner conflict and need for purpose and how to simply find joy in simply existing.