I absolutely loved Ann Leckie’s Raadch trilogy, and Provenance is a worthy addition to her universe.
I just wish the publishers had gone with a less shouty blurb/cover/testimonial approach.
“POWER. THEFT. PRIVILEGE. BIRTHRIGHT.” is ridiculously over-the-top for what is essentially an introverted and subtle political-space drama!
As usual, all it took to restore my faith in humanity was a visit to the local library.
Hag-seed (2016) is such a fun novel, and so well written.
I think I may be finally ready to deep dive into the big ones: Alias Grace, The Handmaid’s Tale, The Blind Assassin …
So much to read, so little time.
Sitting at home with the windows closed on the one and only summer day we will get in Sverige this year, bawling my eyes out watching an imaginary movie on the backs of my eyelids called Björkpollen II: Det kliande ögat av Sauron.
You may recall that I’ve embarked on a massive project involving an analysis of the early Chris de Burgh albums—and specifically his lyrics. Given the scope of this project, my progress is slow, but steady.
However, inevitably, choosing a new WordPress theme (in my case, the wonderful Lovecraft theme by Anders Norén) involves going through old posts and cleaning up dead code and formatting.
Given that there are over 1,200 posts on this site, it’s quite a job.
But, the good news is that I’m getting back in the Chris de Burgh zone.
I’ve been working away in the background and have now re-jigged the first three Chris de Burgh album reviews, focusing on the 1970s: Far Beyond These Castle Walls . . . (1974), Spanish Train and Other Stories (1975) and At the End of a Perfect Day (1977).
Specifically, I’ve added record covers, quotes and links to the lyrics, in order to make the reviews (even) easier to digest.
Right now I’m also working on a review of de Burgh’s first 1980s collection, Eastern Wind.
More on that in due course!