Reviews by Jane Funk

Ann Leckie’s PROVENANCE is not a space opera. While the scope is broad, covering an uneasy interstellar treaty and the implications of a society obsessed with origins and authenticity, the real focus is on Ingray Aughskold, a foster child from a public crèche, acutely aware that in her mother’s eyes, she has always lacked “a certain something” (423). PROVENANCE plays out on an intimate scale, the coming-of-age story of a woman who should have come into her own years ago. Read the rest of this review »

I hate to start a review by saying that a book was good because of what it did NOT contain, but when a YA novel does NOT contain handsome supernatural beings, sorting, life-or-death romantic longing, cancer, or shockingly young children being pressed into military service, I feel like that bears mentioning. In fact, I’m not sure I can remember the last time I read a YA novel in which not a single character was sorted into a color-coded societal group. ‘Sorting’ isn’t necessarily a bad thing; like any trope, the success depends on the author’s skill. Still, reading WEAVE A CIRCLE ROUND and not having to remember which ‘team’ anyone was on was… genuinely refreshing. Read the rest of this review »

I was telling a friend about this book and the first thing that came out of my mouth was “I learned a lot about fungus.” Don’t worry! There are plenty of other fun things to recommend this book, such as NSA code breaking and creepy assassinations, but Walton has found an interesting hook and then amplified it until you will willingly read an entire book about fungus taking over people’s brains. Really.
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I love a good series. From J.R.R. to George R.R., there’s a plethora of ways to enjoy the intricate plot and character development that occurs when you start counting pages not in the hundreds, but in the thousands. But sometimes I just… want to read a book? Singular?

Brandon Sanderson’s ELANTRIS is one of these rare standalone novels; rare in the sense that the genre, and Sanderson in particular, tends towards producing series. Not that I would complain if ELANTRIS became a series–I had a great time reading it and I would say that thirteen years after its initial publication the story is as fun and compelling as ever.

ELANTRIS begins with Princess Sarene of Teod sailing into the kingdom of Arelon only to discover that she is a widow. The man she was supposed to marry, Prince Raoden, has died, but her marriage contract stipulates that she is still his wife, whether or not she had the chance to meet him. Disappointed but not distraught, Sarene immediately begins puzzling out the political situation in Arelon.
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I first learned the term “bottle episode” while watching “Community” (thank you, Abed). One episode of Season 2 takes place entirely in a locked room as the characters search for a missing pen. While the premise is absurd, trapping everyone in the same room allows for hilarity, as well as serious revelations about their relationships, to ensue. Not only are ‘bottle episodes’ cheap to shoot, relying on one set instead of several, they are also light on plot, allowing writers to spend more time focusing on character development. In his newest addition to the Enderverse, CHILDREN OF THE FLEET, Card immerses his readers once again in a world of precocious children, absent but watchful adults, and a life or death mission. While it’s not exactly a bottle episode, Card’s narrative shares a similar intense focus on depth, not breadth. By limiting himself to a relatively simple plot and using the already familiar setting of Battle Fleet School, Card can fully explore the emotional journey of Dabeet Ochoa.

Set in the aftermath of Ender’s victory in the Third Formic war, CHILDREN OF THE FLEET begins after Battle School has been converted to Fleet School, a place to train future leaders for humanity’s colonization efforts. Dabeet Ochoa is a preternaturally intelligent child who is convinced that he belongs in Fleet School, not stuck on Earth.
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