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#At least narratively I had plenty of warning so I muted the fuck out of that shit and looked away until he wasn't actively dying on screen

doberbutts · 2 months

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Google: hello I recommend this show to you based on your interest in 1600s Japanese modern period dramas and animations

Me: oh actually this show is pretty neat, I like that the Japanese characters actually speak Japanese and not *winkwink* they're totes talking in Japanese but for the viewer's sake they're using English *winkwink* and from the sound of it traditional Japanese at that because this is sounding very antiquated and out of date compared to my rough knowledge of modern Japanese

Show: :)

Show: have 10 minutes of a character being tortured by being boiled to death in a large cast iron pot :)

Me: ...

Me: WHY

#Seems otherwise good but #I wish shows had better warning than 'may contain violence'#Like yeah it's a samurai show of fucking course it has violence #I'm expecting to see people's heads get chopped off not Human Soup #I know I know it's an actual torture method that was used back then but come on #At least narratively I had plenty of warning so I muted the fuck out of that shit and looked away until he wasn't actively dying on screen #And tbf most of it was background noise during an exclusively Japanese dialogue bit so I could just read the subtitles and not listen #Also maaaaajor yikes on the origin of the English word 'Japanese'#English speakers don't be racist challenge: impossible

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gaiuswrites · 3 years

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King of Cups || Chapter 4

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Chapter 4: Page of Swords

Archive: ao3 | masterlist | three

Pairing: Din Djarin x fem!Reader

Summary: You attempt a new skill. Mando attempts to teach you.

Word count: 4.7k~

Rating: Mature

Warnings/tags: gun usage/mentioning throughout, mature language, pining, more dirty thots-ish, angst because why not, does this count as fluff? sure, gun kink if you squint w/o your glasses

Notes: As the reader (you/us) begins to become more familiar with Mando, his perspective starts bleeding in to the narrative, without a blocked off POV. Also, the reader’s past will start weaving (incoherently?) into the story as well. The large italicized chunks denote past tense interactions (which is probably obvious but who knows any more). Cheers x (gif credit: @djarinsgf)

A shot rings out.

Birds explode from the canopy with offended squawks, squalling in a winged flurry to scatter every which way until they recede again into the green, disappearing back into their hiding places. You groan. You thought you’d be better at this.

It’s not that you thought you were some sort of savant, you just didn’t expect to be this bad. Honestly, it’s embarrassing—you’re embarrassingly terrible— like statistically, you should have hit something by now, but you just keep missing—a crowded tree line in front of you, and not a scratch in sight—nary a singed branch nor a bullet holed trunk. It’s almost impressive how poor of a shot you are—and you would be, if you weren’t so damn exasperated with the whole affair. With a frustrated grunt, you throw your hands up, brandishing the weapon haphazardly.

“Careful,” Mando warns slyly, “you could hurt someone with that thing.”

“Yeah, well at least I’d hit something,” you grumble.

The kid had been fussy - almost unbearably so - in the weeks that followed your short stint on Bajic, and your party was itching for some time off the Razor Crest. After his third tantrum in a day, Mando decided to land on some unknown planet you couldn’t even spell to stretch your legs and take a breather.

You had almost sobbed when you saw him drag his menagerie of weaponry over. You knew what this meant, you knew what came next—his weekly, routine buff.

You think he’s doing it on purpose.

Ever since the first time, when you damn near had a conniption ogling him, you swear it’s like he’s doing it just to mess with you. He isn’t—of course he isn’t, rationally you knew that, in fact there was plenty of evidence to the contrary. He’s a Mandalorian—weapons are apart of his religion for kriff’s sake—but Maker does it seem intentional. Premeditated. It’s like you can feel the blistering ray of his gaze on you as he takes his time, roving a leathered hand over the bulge of the shaft—greasing it, stripping it, part by metal part…

It’s all in your head, you told yourself. It’s all in your fucking head and you need to get a grip.

Immediately you sprang into action, busying yourself with anything you could get your stupid, little hands on—in this case, being one of his many blasters.

“I wanna give it a go,” you said.

He let you, surprisingly. He hesitated, at first, his helmet tipping at a disbelieving angle. But he gave in—it took less effort on your part than you’d figured—and Mando conceded. He obliged.

How hard could it be? You thought.

Famous last words.

He’s parked there, settled on a throne of crates pushed flush to the Crest, slouched against the outer hull of the ship as he cleans, from the looks of it, every item in his arsenal—a front row seat to your pathetic endeavor and you’re failing—epically, ridiculously—shot after errant shot.

You line yourself up, scrunching your face in concentration as you bare the blaster in your hands. Maybe this time…

You fire off a round and an animal scampers scared in the thicket. Nothing. Another sublime miss.

You hear a noise come from Mando’s direction, something subtle like a blip of static through his helmet - Maker, he’s laughing at you - and you pivot around to him.

“What,” you ask, although it's less of a question and more of a griping pout. He replies with silence, that fickle language he's mastered to perfection all on his own, his focus pitched down to the bristled rod he’s driving in and out of his rifle, scouring out the residue from the inner barrel. “Ugh, what Mando?” you say, just shy of a whine, one hand slotted on your hip, the other dangling by your side, the pistol foreign and cumbersome in your grasp.

“Didn’t say anything,” he replies with a half shrug, his pauldrons shifting so imperceptibly you almost miss it. You pause, hurling him a look that misses him completely before you heave a frustrated sound.

“Fine, you show me how it’s done then.”

The T of his visor finds you. Its cold and unknowable as he rolls his helmet, tilting it up to you, hands slowing their ministrations to a rest. He’s wears a glare, carved into the steel hollow of the plates—unamused and smoldering—and with it, you feel small; microscopic and withering under his pointed gaze— suddenly too exposed in the open patch of jungled wilderness they’ve landed in and your mouth tweaks, teeth grazing the plush there. You assume he won’t do it. There’s no way he’ll rise to such obvious of a challenge, but he’s sighing—you can see it in the slant of his armor—and marching towards you before you can take it back, drawing closer and closer until Mando’s slated in front of you, expectant and postured and you forget— like the skip of a record, you forget why he’s even there— not a foot before you— and your eyes dance across his helm, flickering back and forth.

“May I?” he nods down to the pistol in your hand and you start - oh, shit - and offer it to him clumsily.

Mando squares off against the untamed green. The air lays hot and sticky around them. There is no trace of wind, no glimmer of breeze, and his cape hangs mute down his back. You’d never seen him fire his weapon. He surrounded himself with them, sure, always had at least two strapped to him at all times— probably even slept with one, you reckon— but you’ve never seen him use one.

With one solid movement, he cranes his arm, taking aim.

Now, you aren’t one to condone violence, but he just looks right doing it; an extension of himself with how natural it is, how innate— an added appendage, born unto him. The pistol looks good in his fist, like it couldn’t possibly belong anywhere else, the orange tips of his glove curling around the hilt, looping over that sensitive release.

He has practiced hands. Methodical. Sturdy. It’s sensual, to watch him like this. Pornographic even— sacrilege in a way. A part of you wants to look away and turn your gaze, grant him privacy as he handles the blaster— delicately, confidently. It’s intimate.

The pistol croons in his palm. She bends, supple and lilting. He knows just where to touch, where to stroke— she does anything he tells her. She melts for him.

Warmth pools in your mouth. Mando pulls the trigger.

He lands an impressive shot onto an impossibly narrow tree trunk nestled further in, and your features contort with amazement. Maybe you want to see it again—like a nosy neighbor peeping in through drawn curtains. Maybe you’re being reckless and smarmy, and maybe you know it. A Mandalorian’s got a gun in his hand and you’re prodding him - brilliant strategy, top marks - but your adrenaline is pumping something fierce and you feel yourself grow bold with each seize of your heart.

“Lucky shot,” you huff.

He pans to you, lolling his head, visor locked onto your face. Without flinching, without gracing you with a remark, he raises his arm and fires— doesn’t even have to kriffing look. The scorch mark sizzles - haughtily, jeering - no more than a few inches away from the first. You nearly choke on the arrogance of it— the lazy, smug performance— like he can’t be bothered with any of it, as if your taunts are all so beneath him.

You have to bite down on your lip to stop it from snaking into a wicked grin.

Mando offers the pistol back to you, flipping it grip-side up in a fancy flourish before striding - strutting - back to his post. You shake your head, a determined set to your jaw and you retake your aim, squinting in the hazy afternoon light, pulling the trigger— and nothing happens.

Again, click. Nothing, click after fruitless click. You make a face, pinching—

“Safety’s on.”

You flush, thanking the Maker that your back is towards him, and switch it down with your thumb. “Right,” you mumble sheepishly, wetting your lip. You align your sights, bracing yourself for the impact—

“It’s your stance.”

Three words.

Three words, the only solace Mando provides before devoutly returning to his work.

You wait for him to elaborate, to edify you— for any manner of sage advice— but the explanation never comes; he leaves you like this, marooned with three fucking words and you have to screw your eyes shut. This man is baffling— maddeningly unhelpful— infuriatingly sparse. It makes you want to howl and rip your hair out— and you whip around violently.

“What about my st-”

Your question comes scampering to a halt, tail between your legs, throat gone dry. Mando has planted himself directly behind you— standing so close you can see your reflection in his beskar, see the blush blurring your cheek under the alien sun.

“What uh, what about my stance?” you ask, mousier now, swallowed up by the sheer size of him so near to you.

“It’s not wide enough.”

You glance down at your feet before looking back up to him. “What do you mean?”

“Turn around,” he says.

You quirk your brow at him before he repeats himself. “Turn around and spread your legs. Hips distance apart.”

Fuck, he has no business sounding like that— like bourbon and smoke and iron tang—but you do as he says. You’re shakier than you want to be— you wish you could be cool and collected but you’re not. You’re anything but, and you’re nervous. Maker, Mando makes you nervous— it’s not just the weapon in your hand, it’s him— setting you off and giving you butterflies like you’re some sort of forlorn schoolgirl. You’re a grown woman, and this is what he’s rendered you to— jittery, molten mush. It’s embarrassing. Fucking mortifying.

You guess it’s the day for it.

He doesn’t touch you, but it hardly matters; you can sense him there all the same, a shadow in your peripheral. He leaves a thick breath of space between your bodies and with your back towards him, you can feel the waves of heat radiate off the bounty hunter, pulsing out out out from him and it’s almost intolerable— as if you’ve flown too close to the sun, waxed wings melting in pearled streaks down your spine.

You scuttle your feet open, parting just outside your hips.

“Arms up,” he says, and you hoist them into position. You’re sure you look as awkward as you feel, if not more, all the angles of your body feeling perfectly wrong and misplaced. “Relax your elbows,” he adds, and you do— you try to, at least.

“Too much. Somewhere in between.”

You try again, strengthening through your triceps and down your forearms.

“Better,” Mando gives. You think you feel him nodding approvingly behind you. “The important-”

Kriff, you panic.

You spin towards him, dropping your form and cutting him off with a humbled, worried look, throwing up barricades and hurdles— landmines for him to dodge. Or step on.

“Wait hey Mando, you don’t- I don’t want to take up your time,” you begin.

“You aren’t.”

“I’m serious, I don’t want to bother you with this.”

“You’re not.”

You blink.

“If you’re going to do this, you’re going to do it right.”

He speaks so plainly, unvarnished and matte— unflinchingly earnest in a way that gives you pause. It leaves no wiggle room for interpretation and you sigh, defeated, shoulders slumping as you haul yourself back around.

“Arms up,” he reiterates, but there’s no malice there; he sounds kind— untroubled. It always surprises you how mild he can be— Mando should be anything but, he’d have every reason to, but he’s calm. Patient. You wonder if he even realizes it, if he even recognizes the tenor of his own voice— how gentle it can be— under the helmet. Despite it.

“Think of your posture as firm, without tensing,” Mando explains. “Soften your knees, don’t lock them— same goes for your arms— don’t stiffen against the recoil, let your body absorb it.”

You mirror what he coaches, shooting him a curious, hopeful look over your shoulder.

“There. Good,” he says. “Now, which is your dominant eye?”

Your arms fall down to your sides. “My what?”

“Dominant eye.”

You give him a baffled look like he’s speaking another language - in all fairness, he is - and Mando emits another puff of air through his modulator, chortling.

“Eye dominance. We’re all either right handed or left handed. Eyes work the same— right eyed or left eyed. We favor one or the other— you’ll focus that one to aim.”

Oh, huh.

You still appreciatively, basking in the novelty of the information. “Really? I didn’t know that. That’s- that’s actually pretty interesting,” you muse. “Brains and brawn, huh?” You flash a cheeky grin back at him.

Mando grunts, nondescript and unaffected and robotic but he swears he can feel pink creep over his clavicle, tainting the tan of his skin concealed there.

He fits his gloved hand over yours, if only for a second, and you do your best to ignore the rough patch of his leather grazing against the thin flesh there. You try to ignore the chill that sweeps across the curve of your waist, how the peach fuzz prickles up, electrified and magnetized, as he unfurls your fingers from the gun, letting it slip from your grasp. He tucks it under his arm, keeping it pinned there with his bicep.

“Hold your hands out like this.” Mando shows you, creating an oval with his fingers— like a view finder or a scope. You mimic him, feeling like every bit of an idiot, but you don’t contradict him— you do as he does. “Now, set your focus out on a fixed point through your hands,” he instructs and you do, setting your sights on a gnarled tree branch.

“Got it?” he asks.

“Got it,” you respond.

“Now alternate closing each eye. The image should stay in the frame with one, and then shift out of it with the other.”

You frown, concentrating, and close the right before blinking over to the left— kriff, he’s right.

“Oh shit,” you mumble. “My left. It’s my left eye.”

“You sure?”

You check again, squinting through either eye, the tree bouncing in and out of the frame of your fingers. “Mhm. Yeah, my left eye keeps it centered.”

He makes a thoughtful sound. “Left eyed but right handed. Interesting,” Mando murmurs.

You glance up to him, dropping your hands. “Why is that interesting?”

“Not common. The brain’s typically wired the same way all the way down— one side of the body will be dominant. It’s not usually split.”

“You telling me my brain doesn’t work properly, Mando?” you quip dryly.

“You said it, not me.”

He holds the blaster out to you and you swipe it from him with a huffed snort, returning towards the tree line and stars your face hurts. Your face hurts and it’s burning with this asinine smile that’s digging mercilessly into your cheeks. It makes you want to massage your jaw, get the damn thing to relax. Honestly, it makes you want to give yourself a slap.

“Make sure to cross your center with it. Line it up towards the left.”

“Maker, do you think about all this every time you shoot?” you ask, mystified, as you fix your aim.

“Muscle memory takes over eventually. You’ll get there with enough practice.” Mando replies gruffly and you guffaw, loud and wonderfully ugly. You seriously doubt it.

After a series of very near misses— you are getting closer, you’ll give yourself that— your arms grow tired; the joints and muscles protest as you extend them out from your body, taut and tense— the gun dead weight in your wobbly hands.

Your shoulder smarts where you injured the tendon in the explosion. You roll it out, earning snaps and pops as it notches over the bone there. They told you you were lucky. They congratulated you - it’s not a complete tear! - and it’s on the mend well enough, but it’s weak. It doesn’t matter the weight of the object.

The longer you hold anything, the heavier it feels.

You suppose you could throw in the towel at any point, but the fact of the matter— as terrible and true as it may be— is you want to impress him. That awful, nagging feeling— you want to impress the Mandalorian. You want him proud of you— you want to be nice and shiny for him to admire, like one of the guns he polishes until it’s sparkling, until he can mount it on display and show it off. It’s absolutely nauseating— but you couldn’t stop it even if you wanted to, and you don’t. You don’t want to.

He isn’t blind to it. He sees the exertion, the tax— how beads of sweat congress around your temples, dampening the base of your scalp, butterfly kissing your skin with a sheen. A trail of wet salt, one lone pilgrim, ventures down the back of your neck, wandering lower and lower, past the hem of your shirt, disappearing into the soft valley of your spine where Mando can’t follow. His throat bobs rough against his cowl.

Transferring the pistol into one hand, you shake out the other, flexing through it and relaxing your grip.

“Wait,” he says and you cock your head back at him. Mando’s retreating to his pile of guns, rifling through the metal anthill before selecting something sleek and chrome. “Here,” you exchange pistols, giving him back the bulkier of the two. Immediately you feel the relief of this new one— it’s lighter and smaller, slighter in your grasp, too— and you turn it over in your hands, noting the way the nozzlelike barrel glitters in the sun.

You’d almost consider it pretty if it weren’t a literal killing machine.

“That’s a CDEF model. Lightweight, reliable, Dedlanite casing, standard issue for CorSec officers.”

You nod along, as if you have any clue what he’s talking about— you don’t. You really, truly don’t.

“Should be easier.”

“Mm,” you hum out in ignorant agreement, slotting your arms back up into position.

“Don’t put your finger on the trigger until you’re ready to fire.” You rest it against the slide of the barrel, hovering nearby.

Mando shifts closer towards you, the grass grinding under his feet as he takes a half step in to your backside.

“Breathe. Don’t hold it in. Let me hear it.”

Fuck, this feels like a sin; this small gap of distance he’s erected between you as tense, as strained and feverish, as whispered confessions in the dark. Like sneaking back into your parent’s house late at night— the morning moon peering down at you with a heavy lidded gaze— knowing, knowing, keeping your secrets to herself, pressing them to her chest, winking sleepily.

It would be so much easier, so much simpler, if he just put his hands on you. Placed your body where he knows it should be, force you into the shapes and positions he’s so intimate with himself, but he doesn’t. He draws it out. He respects your space and autonomy and it makes it worse. Your imagination fills the void separating you two, and it’s running wild and rampant and depraved and—

“Focus,” he utters, his voice no louder than a purr. You’ve never heard something so mechanical make a sound so deliriously smooth, and you have to suppress a nervous scoff. Focus, he says, as if he isn’t suffocating you with how close he’s standing— as if you aren’t enjoying it— as if you aren’t vibrating down to your very bones at the proximity of the bounty hunter—so close, you bet he can hear them, rattling and slapping against each other deep beneath your skin.

“Remember what I said about your posture,” he suggests quiet-like and murmured, without a trace of condescension there—a harmless reminder. You make the adjustment, fixing your shoulders down your back, and release the stress in your arms.

“Firm without tensing,” you respond under your breath—more for your sake than his— striking it from your mental checklist.

“‘Atta girl.”

No.

No no no, Maker, you feel it. You can fucking feel it—how something low and resonant spasms beyond your belly, the clench of your empty cunt at the encouragement—the heady praise of it all.

Atta girl.

He said it softly - rudely husky - just above a whisper, something tailored specifically for you—almost like it slipped from his lips and he didn’t even notice its passing. It meandered out of him, so easy—too easy. It practically sauntered.

You’re trembling— stars, you hope Mando doesn’t see it. It’s humid and muggy and yet you’re shaking as if it’s freezing, as if you’ve got icicled snot dripping from your nose, and your nerves go haywire, fraying in every direction as you sip in a whistled breath.

You can do this. You can do this. Focus.

“Take the shot,” he orders.

Focus.

Pressing into the slope of the trigger, you fire.

You gasp excitedly— a surprised, whooping laugh tearing through you and you whip around, giddy and beaming - bright, beautiful - a lock of hair sticking to your lip. It’s the youngest, the freest, Mando’s ever seen you; maybe the happiest, too, and his stomach twists at the sight, a tourniquet cinching around him, winding and coiling until he’s convinced it’ll burst. His fingers twitch, every instinct begging him— demanding him— to reach out and return the stray strand behind your ear alongside the others but you beat him to it. Deftly, you flit it away yourself instead, and he’s relieved.

Devastated, too. Gutted.

“Did you see that?” you ask, gleeful as a child.

He pries himself off you, dragging his gaze over your shoulder to where you struck the trunk, a coaled mark charred there into the bark, before returning his attention back to you. You meet his eyes, despite the blackness of his helm— you hold them, for a breathless, ageless moment, you hold him there.

“Not bad.”

He can’t muffle the jolt of his heart as it rumbles through his chest, breaking his mouth wide open into an aching smirk. He doesn’t know if you hear it. He fears you might.

He prays you do.

///

“Cooling vents,”

Metal scrapes against the table as you place the delicate bits down, deconstructing the blaster. The Mandalorian nods, silent as a specter.

“Gas refill valve,”

Another clunk.

“Actuating blaster…” You turn over a particularly knobby bulb before peeking up at Mando through your lashes, a wry grin tugging rosy and coy at your lips. “… thing-”

“Module,” Din corrects.

“Module, right, that’s what I said.”

He sits across the galley from you, arms folded over his chest as he eases back against the hull of the ship, overseeing as you take apart the blaster, the slender little thing he gave to you - he rarely uses it anyways - as you name the pieces and parts just like he’s taught you.

“Keep it,” he told you.

You resisted. You fought it, laughed it off incredulously— stubborn to the end— argued you wouldn’t even have a need for it.

“What am I gonna do with a gun, Mando?” you balked, and Maker he’d hoped you’d never have to use it, would never have to see a firefight in your damn life let alone be in the middle of one, but he wants you to have it— have a part of him, strapped to your hip— the closest he’ll get.

He’s selfish. Din is a greedy, selfish man. He wants to see himself on you, wants you to carry him around like a souvenir from something unforgettable— something irreplaceable— a memory like warm bathwater you dip into long after it passes, and he’ll take whatever he can get— just like you, hungry for anything you’re gracious enough to feed him. And fuck, if he doesn’t hate it— doesn’t want to bury that feeling, cold and lifeless, six feet under the earth. No ceremony. No elegies. Dead and gone, returning to the dust from whence it came, crawling back into the ribcage it sprung from.

Din said your name. Firm— gentle, too.

“Keep it.”

They’ve been at this ever since you managed to hit the target that first time. Hours have passed, dawdling by on the fat little legs of a toddler, plodding and slow. The sun had set, and winged bugs the length of your palm had taken up residency in the dark rainforest, making themselves known with a haunting tune, screeching and singing into the lush wood. After the child had tried making a pass at one, no doubt in the mood for a quick snack - isn’t he always - you had agreed to retire back inside the Crest.

You were so excited, your whole face lit up— like fireworks he remembered once, through the eyes of a boy in the summered night— and you wanted more; like a sponge, sopping up all you could, sucking Din in and ringing him out for it and fuck, he couldn’t say no.

He can’t say no to you.

You start prattling out questions about everything and nothing - what blaster do you prefer, do you have a favorite rifle, what’s the difference between plasma and gas charges, you have a flamethrower on your wrist? - and before long you get him lecturing, going on about weapon safety and trigger discipline and slide bites and ammunition rounds and gun brands and serial numbers and Din knows this isn’t you. You’re a borderline pacifist for kriff’s sake— he’s almost certain that if push came to shove, you’d rather lay down your life than take one. You’re no gunslinger, and you don’t hold any aspirations to become one.

But here you are, fist tucked under your chin and leaning in to him, hanging off his every word.

You have no personal interest in weapons. Frankly you’d be pleased if you never held a gun again in your life. No, and whether Mando realizes it or not, you want to know because it’s him. You want to know him. And maybe it’s because its the most he’s given to you since you stepped foot aboard the Razor Crest— almost a month, and what you’ve gotten from him today alone has been more than he’s given in weeks— not a door so much as it is a window into his life, an allowance, a glimpse behind the beskar. Its more attention, more words and insights, more tiny gestures and maybe you’ve been a little starved for it— maybe you’ll eat up any scraps Mando tosses with a calloused glove, molded and rotting, from his plate.

Even if it’s this, even if its fucking firearms.

You want to know.

It’s who you are: it doesn’t matter what someone’s passionate about, you’re interested in their interests. You care what they care about. If they matter, then it matters. It’s who you are, webbed and weaved into the innermost fabric of your being, and you can’t pretend to be anything else; you don’t know how to unbecome.

You’re splayed before him— a bleating heart, kaleidoscoping and blooming and twisting in his hands. If only you could pry open your chest— turn yourself inside out at the seams, spill yourself to splatter, sanguined and slippery right there on the deck. You’d do it, if you could.

Am I loving enough Am I giving enough Have I paid my debts Am I worth this now, finally— Worth that which I offer, have I earned it back

So effortless, this vignette, seated here in his galley, dismembering a blaster and labeling the parts, terminology klutzy on your tongue— tripping over yourself just to get it out— looking to him for hints and clues, fluttering your doe eyes with cartoonish bats.

He answers. You laugh. He smiles.

The kid is in his pram, entranced by all the shiny baubles and bobbins just out of his reach - thank the Maker - and giggles at their little game— happy, for once, just to watch.

You and me both kid, Din thinks. You and me both.

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dillydedalus · 3 years

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april reading

oh yeah this is a thing. anyway in april i read about uhhh.... first contact (twice), murderers on skis & victorian church politics

the yield, tara june winch a novel about indigenous australian identity and history (now and throughout the 20th century) in three narrative strands. imo the narrative strand that consists of a grandfather writing a dictionary of his language (wiradjuri) in order to prove a claim to some land is by far the strongest, but overall i liked this quite a lot. 3/5

land of big numbers, te-ping chen a solid short story collection focused on modern china and young(ish) chinese people, both in china and the diaspora. i particularly liked the stories that had some slighty surreal or speculative elements, such as one about fruit that strongly evoke emotions when eaten and a group of people stuck in a train station for months as the train is delayed, which imo use their speculative aspects in effective (if not super subtle) ways to talk about society. 3/5

the pear field, nana ekvtimishvili (tr. from georgian by elizabeth heighway) international booker prize longlist! a short, fairly depressing read about a 18-year-old girl at a post-soviet school for developmentally disabled childred (but also orphans, abandoned children & other random kids) who is trying to get a younger boy adopted by an american couple. there seem to be a lot of novels set at post-soviet orphanages etc & imo this is a well-executed example of the microgenre, with the pear field full of pears that are never picked bc they don’t taste right as a strong central image. 3/5

the warden, anthony trollope (chronicles of barsetshire #1) ah yes, a 6-part victorian series about church politics in an english town, exactly the kind of thing i’m interested in. not sure why i committed to at least the first two entries of the series but here we are. despite this lack of interest (and disagreement with most of the politics on display here) i found this quite charming; trollope has a gift for an amusing turn of phrase & making fun of his characters in benevolent ways. 3/5

the lesson, cadwell turnbull first contact scifi novel set on the virgin islands, where an alien ship arrives one day. the aliens seem benevolent & share helpful technology, but also react with extreme violence to any aggression. they claim to be on earth to study.... something, but it’s never entirely clear what. the book makes some interesting choices (like immediately skipping over the actual first contact to a few years in the future, when the aliens are already established on the islands) but i thought much of it was kinda disjointed and confusing. 2/5

the heart is a lonely hunter, carson mccullers look, i get it, it’s all about the isolation & alienation (& dare i say loneliness) of 4 miserable characters projecting their issues on the central character singer, who is kind and patient and also deaf and mute, thus making him the perfect receptacle for their issues without really having to connect with him as a person and how that isolation hinders them socially, artistically, emotionally, politically, but like... i didn’t really like it. i didn’t hate it but i just felt very meh about it all. 2.5/5

acht tage im mai: die letzte woche des dritten reiches, volker ulrich fascinating history book about the last week(ish) of the third reich, starting with the day of hitler’s suicide and ending with the total surrender (but with plenty of flashbacks and forwards), and looking at military&political leadership (german and allied) as well as prisoners of war, forced laborers, concentration camp prisoners, and everyone else. very interesting look at what kästner described as the “gap between the not-anymore and the not-yet.” 3.5/5

firekeeper’s daughter, angeline boulley) i’ve been mostly off the YA train for the last few years, but this was a really good example of contemporary YA with a focus on ~social issues. ANYWAY. this is YA crime novel about daunis, a mixed-race unenrolled ojibwe girl close to finishing high school who is struggling with family problems, university plans, and feeling caught between her white and her native familiy when her best friend is shot in front of her and she decides to become a CI for an fbi investigation into meth production in the community. i really appreciated how hard this went both with the broader social issues (racism, addiction) and daunis’ personal struggles. there are a few bits that felt a bit didactic & on the nose (and the romance... oh well), but overall the themes of community, family, and the value of living indigenous culture are really well done & i teared up several times. 4/5

the magic toyshop, angela carter i love carter’s short stories but struggle with (while still liking) her novels so far. this one, a tale of melanie, suddenly orphaned after trying on her mother’s wedding dress in the garden, coming of age and awakening to womanhood or whatever. carter’s really into that. it’s well-written, sensual as carter always is, and the family melanie and her siblings are sent to, her tyrannical puppet-maker uncle, his mute wife and the wife’s two brothers, both fascinating and offputting (& dirty) make for an interesting cast of characters, but overall i just wish i was reading the bloody chamber again. 3/5

barchester towers, anthony trollope (chronicles of barsetshire #2) (audio) lol tbh i still don’t know why i am committing to this series about, again, church politics in 19th century rural england, but it’s just so chill & warm & funny (we love gently or not so gently - but always politely - mocking our characters) that i’m enjoying it as a nice little trip where people do some #crazyschemes to gain church positions or fight over whether there should be songs in church or whatever it is people in the 19th century fought about. it’s very relaxing. there also is a lot of love quadrangleyness going on and that’s also fun. trollope has weird ideas about women but like whatever, i for one wish mrs proudie much joy of her position as defacto bishop of barchester, she really girlbossed her way to the top. 3.5/5

semiosis, sue burke (semiosis #1) i love spinning the wheel on the “first contact with X weird alien species” & i guess this time we landed on plants! plant intelligence is interesting and the idea of plant warfare is really cool. i do like the structure, with different generations of human settlers on the planet pax providing a long-term view but this allows the author to skip over a lot of the development of the relationship between the settlers and the plant and locating the plot elsewhere, which i think is ultimately a mistake. i might continue w/ the series tho, depending on library availability. 2.5/5

one by one, ruth ware a bunch of start-up people go on a corporate retreat to a ski chalet in the alps, avalanche warning goes up, one of them disappears, presumably on a black piste, the rest get snowed in & completely cut off when the avalanche hits and then they get picked off *title drop* (altho really not that many of them). nice fluff when i had a miserable cold (not covid) but fails when it tries to go for deeper themes... like an attempt to address classism and entitlement sure... was made. also like what kind of luxury skiing chalet does not have emergency communication devices in case internet/phone lines are down... i’d have sued just for that. 2/5

fake accounts, lauren oyler the microgenre of ‘alienated intellectual(ish) probably anglophone person has some sort of crisis, goes to berlin about it’ is my ultimate literary weakness - i almost never really like them, they mostly irritate me & yet i can never resist their siren call. this one is p strong on the irritation, altho at least the narrator does not ascribe much meaning to her decision to go to berlin after she a) discovers her boyf is an online conspiracy theorist (probably not sincerely) and b) gets a call that said boyf has died, it’s really just something to do to avoid doing anything else. but other than that it’s so BerlinExpat by the numbers, like she lives in kreuzkölln! put her somewhere else at least! there is one scene that elevates the BerlinExpat-ness of it all (narrator asks expatfriend for advice on visa applications, expatfriend assures her that it’s really easy for americans to get visa, adds “especially now” while literally, as the narrator remarks, gesturing at the falafel she’s eating) other than that, the novel is.... fine. it’s smart, but not really as smart as it thinks it is, which is a problem bc it thinks it’s just sooo incisive. whatever. 2/5

the tenant of wildfell hall, anne bronte this is reductive but: jane eyre: i could fix him // wuthering heights: i could make him worse // wildfell hall: lmao i’m gonna leave his ass anyway i enjoyed the part that is actually narrated by the titular tenant of wildfell hall, helen (which thankfully, i think, is most of it) because the perspective of a woman who runs away from her abusive alcoholic of a husband is genuinely interesting and engaging, while gilbert, the frame story narrator who falls in love with helen, is.... the worst. i mean he’s not the worst bc the abusive husband arthur is there and hard to beat in terms of worseness, but he’s pretty fucking bad. imagine if helen had found out that gilbert attacked her secret brother over a misunderstanding, severely injured him & LEFT HIM TO DIE & then (when dude survived & the misunderstanding got cleared up) apologised like well i guess i didn’t treat you quite right! she’d have to run away from her second husband as well! poor girl. 3/5

#the books i read #long post #lol i keep forgetting to finish & post these #anyway gilbert fucking sucks! like his name is gilbert you can do better helen

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