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BEATRIZ IN THE INFINITE LIBRARY

A curious and engaging LGTBQ+–friendly narrative of metafictional fantasy and offbeat whimsy.

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Two students using a magical artifact teleport to a fantasy realm—straight out of the pages of the fiction of Jorge Luis Borges—where the author is alive and imprisoned in a remarkable library.

Smith offers a YA fantasy starring the same lead as her debut novel, The Forest in the Hallway (2006). Beatriz has a talent for stumbling into alternative-reality realms and figuring out their riddles. Now a college student, Beatriz and her moth-studying best friend, Iris, have embarked on summer internships and studies overseas in the Middle Eastern nation of Uqbar. The country intrigues Beatriz because it puts her in the vicinity of the miragelike realm of Tlön, a land (or indeed a whole other planet) from the writings of her favorite author, Borges. Beatriz “had discovered his Labyrinths during her first year at Huxley College for Women, and he was an inspiration for her choice of Uqbar as a place to study abroad.” After many foreboding warnings that Tlön is not real, that the inhabitants are unfriendly, and that only a few people go there, the young women are informed by Professor Ptolemy that a museum relic—a decorative glove—can teleport them, somewhat haphazardly, to the realm. But the place is in a state of crisis. Foreign invaders—oddly dubbed the North Americans—have rolled in with military hardware and massive numbers. They want to get their greedy hands on a fantastic Tlön resource: a largely subterranean library (from the Borges story “The Library of Babel”) that theoretically contains every book ever written and thus, much dangerous and powerful knowledge. Moreover, via visions, Beatriz knows that Borges himself (though he died in 1986) is held captive in the library in a ruthless bid by the North Americans to solve the mystery of the institution’s organization. There appears to be no card catalog.

Needless to say, the engrossing text is fecund with literary and pop-culture references, as might be expected from material drawn from a Borges story cycle. There is dream logic of a kind that interweaves with quantum physics and is its own source of surrealism. Even nice, blind Borges cannot offer an explanation of how he came to be trapped in a solid construct of his own imagination (though some outside scholarship by readers will uncover that this is a classic Borges-ian dilemma). Smith does not write a condescending fairy tale for a school-age demographic. Even when wild animals help Beatriz, they remain, thankfully, largely inscrutable and non-English speakers (take that, Harry Potter). Curiously, the North Americans evoke little sense of danger and are routed by Tlön mysticism. The storied Tlön itself feels like a strange hybrid of the Westernized mundane (computer users and restaurant workers going about their daily business) and Through the Looking Glass fantastical. The most distinctive feature is a Tlön subculture of Lake People who change their genders at will—which evidently gives the North American interlopers the willies. (The author’s name was Gordon Smith when the first book was published, and she has since transitioned.) Beatriz even muses about the adventuresome sexual possibilities with her main Lake Person ally, but in between trying to rescue Borges and fix a few alt-universes, the college student remains chaste. A curious and engaging LGTBQ+–friendly narrative of metafictional fantasy and offbeat whimsy.

Pub Date: June 1, 2022

ISBN: 9780578290911

Page Count: 222

Publisher: ICS Media

Review Posted Online: Nov. 2, 2022

Kirkus Reviews Issue: Dec. 15, 2022

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THE FAMILIAR

Lush, gorgeous, precise language and propulsive plotting sweep readers into a story as intelligent as it is atmospheric.

In 16th-century Madrid, a crypto-Jew with a talent for casting spells tries to steer clear of the Inquisition.

Luzia Cotado, a scullion and an orphan, has secrets to keep: “It was a game she and her mother had played, saying one thing and thinking another, the bits and pieces of Hebrew handed down like chipped plates.” Also handed down are “refranes”—proverbs—in “not quite Spanish, just as Luzia was not quite Spanish.” When Luzia sings the refranes, they take on power. “Aboltar cazal, aboltar mazal” (“A change of scene, a change of fortune”) can mend a torn gown or turn burnt bread into a perfect loaf; “Quien no risica, no rosica” (“Whoever doesn’t laugh, doesn’t bloom”) can summon a riot of foliage in the depths of winter. The Inquisition hangs over the story like Chekhov’s famous gun on the wall. When Luzia’s employer catches her using magic, the ambitions of both mistress and servant catapult her into fame and danger. A new, even more ambitious patron instructs his supernatural servant, Guillén Santángel, to train Luzia for a magical contest. Santángel, not Luzia, is the familiar of the title; he has been tricked into trading his freedom and luck to his master’s family in exchange for something he no longer craves but can’t give up. The novel comes up against an issue common in fantasy fiction: Why don’t the characters just use their magic to solve all their problems? Bardugo has clearly given it some thought, but her solutions aren’t quite convincing, especially toward the end of the book. These small faults would be harder to forgive if she weren’t such a beautiful writer. Part fairy tale, part political thriller, part romance, the novel unfolds like a winter tree bursting into unnatural bloom in response to one of Luzia’s refranes, as she and Santángel learn about power, trust, betrayal, and love.

Lush, gorgeous, precise language and propulsive plotting sweep readers into a story as intelligent as it is atmospheric.

Pub Date: April 9, 2024

ISBN: 9781250884251

Page Count: 400

Publisher: Flatiron Books

Review Posted Online: Feb. 3, 2024

Kirkus Reviews Issue: March 1, 2024

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FOURTH WING

From the Empyrean series , Vol. 1

Read this for the action-packed plot, not character development or worldbuilding.

On the orders of her mother, a woman goes to dragon-riding school.

Even though her mother is a general in Navarre’s army, 20-year-old Violet Sorrengail was raised by her father to follow his path as a scribe. After his death, though, Violet's mother shocks her by forcing her to enter the elite and deadly dragon rider academy at Basgiath War College. Most students die at the War College: during training sessions, at the hands of their classmates, or by the very dragons they hope to one day be paired with. From Day One, Violet is targeted by her classmates, some because they hate her mother, others because they think she’s too physically frail to succeed. She must survive a daily gauntlet of physical challenges and the deadly attacks of classmates, which she does with the help of secret knowledge handed down by her two older siblings, who'd been students there before her. Violet is at the mercy of the plot rather than being in charge of it, hurtling through one obstacle after another. As a result, the story is action-packed and fast-paced, but Violet is a strange mix of pure competence and total passivity, always managing to come out on the winning side. The book is categorized as romantasy, with Violet pulled between the comforting love she feels from her childhood best friend, Dain Aetos, and the incendiary attraction she feels for family enemy Xaden Riorson. However, the way Dain constantly undermines Violet's abilities and his lack of character development make this an unconvincing storyline. The plots and subplots aren’t well-integrated, with the first half purely focused on Violet’s training, followed by a brief detour for romance, and then a final focus on outside threats.

Read this for the action-packed plot, not character development or worldbuilding.

Pub Date: May 2, 2023

ISBN: 9781649374042

Page Count: 528

Publisher: Red Tower

Review Posted Online: Jan. 12, 2024

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