there's something so comforting about artists you admire talking about their own struggles and insecurities

The Lies of Locke Lamora by Scott Lynch

Nonspoilery: This is a super fun read that is very much in keeping with how I like my fantasy. I wish it were slightly more on the con man side, but I recognize that those are very difficult to write because one needs to actually be clever enough to come up with the insanely clever plan that unfolds, and, you know what, I'm not there either. But it absolutely is a fun crimey fantasy novel, well written that expects you can actually follow a line of description and maybe even look up a big word, that tries very hard not to bore you with needing to refer to a glossary or map.

I will say, and I'll talk about this more below: There are basically no women in this novel. it's a little disappointing. I still overall think it's worth it if you like this sort of thing though.

SPOILERS BELOW:

THIS is the kind of thing pitchless draw was made for. You could not have talked me into reading this book. Unless you possess an incredible skill--I'm not sure *I* could have talked me into reading this book, and supposedly no one knows me better.

But I did really enjoy myself. This is a flat out FUN novel, that doesn't mind being long but never feels long. I LOVED the long bits of description in this book, I BEG for flavor in some many modern novels that strip away anything that isn't an immediate moving of the ball. Actually, one of the things I would say that's not a criticism so much as a preference, is that I feel like this book, and probably this writer, remembering his short story from Rogues, is more plot-driven than character driven. I am a girl who loves a really interior novel, and this isn't that, but it did not stop me from having a GREAT time. It's a romp.

I like Locke, and his whole backstory. I wish he were a woman. Specifically, I would love to see a femme con artist, second coming of Minako Aino, Becky Sharp ass bitch. THAT would be my dream for Locke Lamora. And I know my friends who have read this book all want butch Locke and I love that for you, and I know y'all have known me long enough to know I love a butch, but I deserve a treat as well, and I LOVE con artists, and goddamnit, if I could change one thing about this novel, Locke Lamora would be a femme lesbian and I would change NOTHING else. You wouldn't even have to. One fo the great things about Lynch not being a real interior writer is literally any of the mains could be a woman and it would change nothing.

This does segue into the big problem here--there's no women in this novel. It's a 700 page book and I could condense the lines said by women into like two or three pages. I actually DO get it. I think we're reaping a little bit of what we've sown, as a community, with the requirement for perfection in our representation that leads to very boring and safe choices. Everyone is a man. We're only swarthy at best. Can't be criticized for bad identity writing if you don't write them at all! ANd this isn't me being salty, I get how that happens, I have also sometimes fallen into making any character of identity boring as fuck or not writing them at all to avoid any criticism. And no one cares about ME, I'm not a best seller. I do think, maybe, people will get better about this. Pendulums and all. I miss the awkward, good faith 90s where you had the United Colors of Benetton and one character who randomly celebrated Hanukkah. We'll see.

ANYHOW NOT RELEVANT. But I do find it irritating that because of this, we don't see women in this huge story at all. None of the gang, even though it would have been easy as fuck to make, say, Bug a girl. Even doing something like making Nazca Barsavi the actual heir apparent, and to have her marrying Locke because she knows he won't try to be Capa, and she'll let him do whatever the fuck he wants, can play the henpecked husband while being the Thorn of Camorr, could be really fun and would do more for Nazca and also play up their friendship. It could make her death mean a lot more, if they were running their own little Barsavi con.

Anyhow, the really fantastic behind the scenes worldbuilding was how I wish more fantasy novels did it. It didn't often try to explain things to me, it spoke as if I mostly understood them, or had cahracters say them in ways that made sense to the story (In this capacity, Lukas Fehrwright is fucking BRILLIANT as Someone That Must Have Camorr Explained). So I didn't feel like I was being sat down and told the history of a place I barely know, while having stupid fucking vocabulary words thrown at me. We never define any physik or magic beyond what needs be done because fuck you that's why. I love it. Thank you for not telling me what alchemical botany can or can't do. Thank you for dropping literally only what I need to kjnow about wraithstone into the plot. You have a crown in heaven.

Or I know I said I wish it would have been more con-ny and less "kill the new mob boss" at the end there, but oh my fuck, how much did I love the whole job at the counting house. I SCREAMED. It was so good, I had no clue where it was going the whole time and I would never have gotten there, but I LOVED it. What a great time.

One...weakness, for me, I guess I'll say, is that lack of interiority makes it hard to really feel the weight of some things. We don't get enough about Galdo, Calo, or Bug to feel anything for them, and I knew Bug was dead from the time he showed up. Actually, I thought we were going to kill jean Tannen, because that was the only relationship REALLY laden with emotional weight in the book. Didn't bother me enough to not recommend the book, as I'm mostly recommending it on fun, but I did notice.

ANYWAY, uh...any specific questions I'm happy to take!

Unfortunately, this means that @verbforverb nabbed me again. So, I had a great time reading the book but at what cost

Oh Juliet, Juliet, wherefore art thou Juliet: Why I (sometimes) Love Romance in Fiction

I love to read. A lot.  I read everyday on the train and before bed.  I read a little of everything: non-fiction, sci-fi, fantasy, historical fiction, mystery, young adult, you name it.  And anyone who’s spent any amount of time with me watching shows or movies knows how angry and annoyed I get at the romantic subplots in a lot of media.  So it might surprise you to learn that I devote a significant amount of my time to reading romantic fiction.

The big question here is why?  As an unromantic person who rolls their eyes at romantic subplots, why am I so obsessed with romance in fiction?  And it’s not just books and fanfiction, although a good portion of my favorites are there.  I do also enjoy romance in tv and film sometimes too.  So what’s going on here?  Well to answer that question, we need to talk a bit about the mainstream portrayal of romance.

I often find romance as portrayed in media as deeply flawed.  Either the relationship itself is not healthy or the characters don’t seem to mesh correctly.  One of my least favorite kinds is the tendency of shows to end with their lead man and woman winding up in a relationship at the end of the series.  Now sometimes this dynamic works, so long as the characters have been building up to this point, but often times it doesn’t work because it is a last minute get-together for the sake of heterosexuality.  Two examples I can think of off the top of my head are Kim Possible and Warehouse 13 (two shows I love dearly, so don’t hate me!).  In KP, the two main characters, Kim and Ron, spend the whole series as bffs; there are never any psuedo-romantic moments between them.  Their friendship is very comfortable, they never show any desire to be a couple, and are very supportive of the other’s dating life.  Then, in the movie, all of sudden I’m supposed to believe they’re into each other? Just like that, with no leadup at all? And then, in the last season, the entire dynamic of their relationship completely changes once they're dating!  It was awful!  Part of what made KP so much fun was the subversion of gender roles they played with, but as soon as their male and female leads started dating, they fell back into the same old patterns. I was supremely disappointed.

In a similar vein, in Warehouse 13, main characters Myka and Pete spend the whole show with a brother/sister dynamic.  Somewhere in the last season Pete realizes he likes Myka, but she doesn’t realize she likes him back until the last episode.  It’s played out really sloppy.  There’s no significant build up to these relationships, they just happen, as if the endgame of all male-female friendships is always romance.  Not only is this not true, it damages real male-female friendships by making society expect them to always end in romance.  

But now let’s look at an example of romance done right: the best slow-build relationship show ever, Leverage.  Leverage is my favorite live-action show of all time.  It’s absolutely wonderful, and part of the reason why is the respect it has for its characters.  The romances that unfold on the show have a long and realistic progression.  They aren’t rushed, they aren’t forced, and they follow the character arcs already in place with the plot.  While in other shows I will roll my eyes at romantic scenes, every Hardison/Parker scene has me squealing and clutching my chest.  Why? Because their romance is believable; it makes sense for who they are as characters, the developments that do happen only occur when they feel right for where they are in their character arcs, and overall, the culmination of their romance becomes rewarding to watch, not just another plot point to check off the list.  

So I have no problem with romance plots, as long as it’s done with intent; if the romance is thrown in as a way to give our characters something to do or to show their desirability, I’m out.  If the romance is well developed, paced, and executed, then I am right there squeeing along with all of you.  This is also why I read a lot of romantic fanfiction.  People who don’t read fanfiction have a very limited view on what it is.  They either think it’s all bad teenage writing with Mary-Sue author-stand-ins or all erotica with bad sex scenes (side bar: sex scenes in published novels are often a million times MORE awful, when compared to some of the scenes I’ve read in fanfiction. Seriously, I don’t understand).  And yes, fanfiction can most definitely be both of these things.  There are TONS of really, really bad fanfictions out there, just as there are tons of really, really bad published novels too. But just like I’ve read lots of great novels, I’ve also read the best “novels” of my life in fanfiction (Sansukh, you superstar, I’m looking at you).  I admit, though, that most of fanfiction plots either involve or are about some romantic pairing.  The really good ones, of course are about more: action, adventure, horror, mystery. However, the core of fanfiction is character relationships and digging out emotions over plot, and one thing a fanfiction can do well is a good romance.

Now, again, obviously there are bad fanfictions, do not get me wrong.  There are fics with unhealthy romances and fics where the romances make no sense and so on.  But because fanfiction is a genre largely devoted to fleshing out already existing character interactions and relationships into romance, already each story starts with a base of character interactions to build the romance upon.  Fanfiction is a medium about filling in the blanks of media, and so these romances can often follow the path I wish mainstream romances followed.  And, yeah, I’ve read my fair share of truly awful fanfictions, but I’ve also read more good ones than I’ve seen romances in media that I find appealing.  

Another great thing about fanfiction: it tends to be super gay.  Obviously there’s nothing wrong with the standard heterosexual romance, but I honestly find queer romances to be 100% more interesting, if given the choice.  Gay/lesbian? Sign me up! Trans/genderqueer? Wonderful! Happy, consensual polyamory? Please!  And also, heterosexual romances are often written in very sexist  and problematic ways.  The women are like prizes, the relationships often involve coercion or unhealthy power dynamics, and the standard tropes of miscommunication and lying really bug me.  That’s also why I tend to love shows with openly queer characters so long as the characters are written with care and respect.  A fine example: Steven Universe.  Not only is the show amazing in terms of story, mythology, character, and humor, but it also has amazing representation of the LBGT+ community.  Lesbian characters, bi/pan characters, genderqueer characters, and the deconstruction of gendered expressions.  I adore it!  So it’s no wonder that I love romantic fanfiction that explores the nuances of queer relationships.  (And, no, I won’t deny that fanfiction has a tendency to skew towards male/male, has a track record of mistreating female characters, and often fetishizes gay relationships; all valid criticisms! The bad exists; I happen to be talking mostly about the good in this post).

So the question we started with: why does a mostly aromantic person like to read romance?  And the answer is, well, I’m not sure, really.  I don’t know what it is that draws me to well-written romance stories.  I don’t know why they make me squee in happiness and fill me with joy.  I suppose you could ask why some people really like reading/watching shows about serial killers.  It’s not like they want to become killers (we hope); it’s that there’s something (darkly) fascinating about killers to them.  Same for me: there’s something fascinating and rewarding about good romance stories.  I can’t explain it, I can only say it’s so.  So definitely expect me to tear apart romances in fiction, especially when I think they are poorly done.  But also expect to find me reading large quantities of romance and squealing over the results.  I contain multitudes of likes and dislikes.