Reviews and Comments

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.

A small region is stuck in a perpetual winter. Offerings from locals to the goddess to bring spring have gone unanswered. Ellery, no longer believing in the gods, leaves his family's frozen farm to work in a city diner to help support his family trying to scrape by with greenhouses to grow crops.

When Ellery meets Knox, a runaway familiar from the Other World, his understanding of the world and the perpetual winter is thrown upside down. Ellery helps protects Knox from the shades who seek to drag him back in exchange for finding out the truth about the winter. But as Ellery helps Knox experience more of human life, they both begin to feel more than they bargained for.

This is a very cute YA romance with an enby protagonist, an adorably OTT sapphic couple and contemporary magic with goddesses and underworlds to boot. The characters are lovely even if Ellery has that teenage insufferability sometimes (just stop antagonising demigods for once, please).

Set in ancient Briton as the Saxons advanced across the island, the kingdom of Dumnonia has begun to abandon the old gods and their magic to favour a Christian missionary and the promise of alliances and trade deals which would follow. As the king's ties to the land's magic fade, so do the kingdom's prospects and defences.

The king's three daughters possess some latent magic still, as forbidden as it is to acknowledge it. But enter Myrdhin, a magician/witch who works to restore the kingdom's connection to it's magic through the children before the Saxon's overrun them. As well as reconnecting the children to the land, they help the eldest daughter, Keyne, be see as he truly is: as the king's son and heir.

The story twists between the perspectives of the king's three children as the kingdom teeters on the edge of invasion, and the rifts that emerge between them over a stranger and their pasts. I really enjoyed all their stories but obviously Keyne is who grabbed my attention in a really thoughtful portrayal of their struggles to be taken seriously by their family and the men in power. Their bonding with Myrdhin, who's pretty genderbending themself, was a great conduit to explore our ancient ties to the earth vs a faith that demands we look away from it to the heavens.

Morgan Ross is that high-flying career lady character who is a big-time event planner only to have a little career snafu when she accidentally kisses her client's fiance. Oops, now that 'New York Promotion™' is on the line and your clients are deserting you.

Hey, why not take up that job in your hometown you were derisive about a few seconds ago? Some small easy win and you're back in the game. I mean, the town is only full of heartbreak and regret, right? Totally solid plan. Though maybe it isn't the best entrance to crash your car into your former girlfriend's sign at the entrance to her tree farm. That's right, she's a hot, toned plaid-clad lumberjack called Nicole Coenen. No wait, my imagination got away with me there. She's called Rachel Reed and it turns out she's actually the client! Sort of.(But go on, insert Nicole in there and imagine she says okey-dokey every other word)

Save her tree farm from the evil capitalistic corporation that sucked the soul out of the neighbouring town already. Also, the corporation is run by your dad's former lover who turned down his proposal and broke your life a little. Ooo, revenge motivation.

Defend the authentic small-town getaway which is incongruously progressive lest we get the idea rural areas are homophobic or racist in any way. We've got small local businesses to save with a magical fundraiser in a barn and maybe win back someone's heart! But will Morgan find a way to screw this up before a last-minute dash and a public declaration of love? You betcha, 'cause this is a Christmas romcom.