Beneath the Sugar Sky – Nonsense Meets Mortality

Beneath the Sugar Sky

Beneath the Sugar Sky returns, if only for a moment, to Eleanor West’s Home for Wayward Children. The third novella in the aptly named Wayward Children series brings us back to present-day following Jack and Jill’s prequel adventure in Down Among the Sticks and Bones. This pattern of alternating past-present stories will continue, according to author Seanan McGuire in this Twitter thread, through at least book eight in the series! But for now, let’s focus on this third installment. Spoilers follow, particularly for Every Heart a Doorway, so proceed with caution.

Beneath the Sugar Sky introduces Cora, a new student at Eleanor West’s school. Cora comes from The Trenches, where she lived her otherwordly years as a mermaid. Cora and her friend Nadya (who traveled to the watery world of Belyrekka, making the two an apt pair) are exploring the pond on school grounds when a young woman falls, seemingly from nowhere, into the water. The newcomer introduces herself as Rini, daughter of Sumi. *Pause for effect.* Yes, she’s the daughter of Sumi, the first victim of Every Heart’s serial murderer. Rini hails from Confection, a land comprised of baked goods, soda, and literal tons of sugar. Her existence itself is a miracle, seeing as her purported mother died a teenager before she ever met Rini’s father. But it’s possible because Confection is a “nonsense” world, dictated by its own rules and timelines but beholden to no others. However, Rini is disappearing after her mother’s untimely death, so a Confection wizard gives her a way to travel between worlds, and she ventures to Eleanor’s School for help. 

There are literal and figurative worlds of themes to explore in Beneath the Sugar Sky. The characters, plot, and themes mix together in a batter worthy of Confection’s countless baked goods, but after some time in the metaphorical oven, those parts don’t coalesce into a satisfying treat. 

That said, Beneath the Sugar Sky offers some distinctly positive ideas. Cora and Nadya both explore body positivity in compelling ways. Cora is overweight, and she openly calls herself “fat.” But she comes from a world where size doesn’t matter, and the weightlessness of living underwater allows her to shed any insecurities about her weight. These learnings carry over into the real world, where she sees judgmental eyes and hears judgmental words but remains confident and poised as ever. Nadya’s right arm is missing below the elbow, and she’s part of a storyline late in the novella (which I won’t spoil here) that echoes Cora’s sentiments and sends a powerful message about being comfortable in one’s own skin. McGuire elegantly discusses body image and positivity through these two new characters, and it’s genuinely inspiring stuff to read. So far, Wayward Children has excelled at conveying strong morals. 

Powerful message aside, Beneath the Sugar Sky suffers from a weak plot and low stakes. The characters shine, as always, but their involvement in Rini’s story doesn’t make much sense. Cora never knew Sumi and just met Rini, yet she embarks on the quest to save both without much thought. It’s a kind gesture, and I’d overlook it, but the plot continues meandering through weird whirls of wackiness (much like this sentence) straight through to the end. Cora and Nadya are accompanied by Kade (a Fairyland reject and Every Heart staple) and Christopher, who can reanimate skeletons with his bone flute (also an Every Heart staple, though he gets more well-deserved screen time here). The ragtag bunch decides that reconstructing Sumi is the best path forward, so they set out on a quest of sorts to revive her. I’ll spare the spoilerific details here, but the crew travels to two separate portal worlds on their quest to save Rini and Sumi. 

Confection is the primary setting, and we’re whisked along as readers through various locales without any real chance to take it all in. Confection’s nonsensical nature feels like a crutch, allowing the characters to duck and weave, avoiding any real danger. Just when the stakes could spark an adrenaline rush, the world throws curveball solutions that allow Cora and her companions to brush aside every threat that comes their way. Would-be emotional moments are stilted by the plot’s racing pace as it speeds toward a conclusion. As I read the conclusion, I asked myself “Did I miss something?” And I don’t think I did–the ingredients of Sugar Sky don’t have the time they need to rise into a delicious morsel. 

While it’s hard to buy into the plot and the stakes of Sugar Sky, there’s still plenty to love. McGuire’s positive messages and morals shine through despite the book’s weaknesses. The lure of doors to new worlds still rings in my head as I journey through the series, and visiting those worlds is a real treat.

Beneath the Sugar Sky: 6.5/10

Down Among the Sticks and Bones – Childhood Meets Brutality

Down Among The Sticks and Bones by Seanan McGuire

Down Among the Sticks and Bones, Seanan McGuire’s first prequel to Every Heart a Doorway, offers brutal ruminations on the nature of childhood and the implications of growing up. This story, starring twin sisters Jacqueline (Jack) and Jill (before you ask–yes, there are plenty of references to the nursery rhyme. No, they’re not overdone), paints a sweeping picture of a difficult upbringing and self-discovery. Seanan McGuire explores the darkest corners of individuality and coming of age while giving us a much-needed injection of Jack and Jill, two key characters from Every Heart

Jack and Jill are thrust into life after their unfit parents decide to have children for no good reason. The book’s first third collects a series of vignette-ish descriptions of their parents, Chester and Serena Wolcott, and their stubborn natures. They want kids to show them off, to earn social status, and to mold them into something convenient rather than unique. Jack and Jill, born into this mindset, find a temporary savior in Gemma Lou, their paternal grandmother. Until they’re five years old, Gemma Lou teaches Jack and Jill to think for themselves, at least as well as a toddler can. When Chester and Serena abruptly eject Gemma Lou from the twins’ lives, Jack and Jill must look out for one another. The years that follow breeze by within a single chapter as Jack and Jill struggle against the strict barriers their parents have erected. It is only when they turn twelve that everything changes. Jack and Jill discover a hidden staircase to another world in what was once their grandmother’s trunk. The secret doorway closes behind them, and they begin their adventure in the Moors. 

The Moors are an unforgiving place. The recently dead don’t always stay that way. Vampires and werewolves roam villages at night. Science is a tool to be wielded with none of the inconvenient limits so prevalent in our world. The Moors burst with possibility and dread. Jack and Jill choose their own paths. Each twin grows up in the Moors under the careful watch of her chosen master–Jill’s, a ruthless vampire known only as “the Master,” who has a stranglehold on the village; and Jack’s, a mad scientist named Dr. Bleak, who resurrects the dead and stretches the limits of science with every experiment he performs. 

The summary above covers a vast swathe of McGuire’s prequel, but context here is crucial. The Jack and Jill from Every Heart a Doorway have already experienced the events of Down Among the Sticks and Bones, and reading this preamble makes the continuation of their story even more intriguing. Sticks and Bones cuts deep and hits hard. As I learned quickly, McGuire doesn’t pull punches. The Moors are a devastating place, and while Jack and Jill both call it “home,” the world shapes them in remarkable ways. Jack, consumed by science, learns all she can under Dr. Bleak’s stewardship, crafting her logical mind into a sharply honed weapon able to solve problems quickly and creatively. Jill learns obedience and patience, at least at first, and must stay vigilant under the Master’s tutelage. Even as the twins find their place, The Moors carves out their dark sides and forces them to the surface. Just as this new world augments Jack and Jill’s inherent individuality, it siphons out their demons. 

So far, Wayward Children is more about the children than the waywardness, and that’s okay. McGuire’s talent for character-driven prose conjures images from words, and the people within these novellas feel fleshed out and believable. That said, for a series with other worlds at its heart, this installment didn’t completely satiate my need for a rich, distinct new world. The Moors serves more as a catalyst for growth than a vibrant setting. I appreciate the approach, and I relish the world-building–I just want more of it. 

Like its predecessor, Sticks and Bones breezes by at a lightning-quick pace. McGuire knows how to tell a story in limited space. She cuts the fat and offers a lean, juicy tale. The plot here doesn’t offer much by way of surprise or shock; most of the significant events are mentioned or hinted at in Every Heart. But it’s still worthwhile. Questions of identity, quarrels between right-and-wrong, and unconventional upbringings make Sticks and Bones a melting pot of intrigue. Worth noting as well is McGuire’s inclusion of LGBTQ+ characters and how she writes them: they’re real, they’re people, they love, and they lose. Their orientation doesn’t make them different or “other.” It’s refreshing to read. 

The Wayward Children series continues to discuss big questions, explore hard truths, and tell stories worth telling. Pick it up, stack it neatly on top of Every Heart A Doorway, and make space for Beneath the Sugar Sky, which I’ll review next. 

Down Among the Sticks and Bones: 8.0/10

Every Heart A Doorway – Magic Meets Reality

Every Heart a Doorway Cover

Seanan McGuire weaves a poignant tale in Every Heart A Doorway, the first novella in her award-winning Wayward Children series. Through expert world-building and a sharp writing style, Every Heart A Doorway provides a heart-wrenching look at belonging, acceptance, and what it means to be stripped of them. 

When protagonist Nancy finds herself ejected from The Land of the Dead back into the “real” world–our world–her parents don’t understand her anymore. After finding a doorway to the Land of the Dead, Nancy spent months learning to be perfectly still, walking the pomegranate orchards under a dark sky, and dancing with the Lord of the Dead. Convinced of her “delusions” after what they believe was a kidnapping, Nancy’s parents send her to Eleanor West’s Home for Wayward Children. There, Nancy discovers that her story, though unique in its details, is more common than she thought. The Home for Wayward Children hosts a few dozen students who found portals to other worlds. Lands of sugar and sweets, worlds where children can run across rainbows, goblin kingdoms, fairy worlds, frolicking skeletons, and many others are counted among the places her peers have visited–and left. Nancy quickly learns that all of Eleanor West’s students wish, on some level, to return “home.” Tragedy strikes as a fellow student is murdered, and Nancy spirals into the darkness of her new world as she and her new cohorts struggle to stay alive while simultaneously trying to solve the murder.

It’s hard to do right by Seanan McGuire’s beautiful plot with only a short paragraph like that. Every Heart a Doorway, clocking in at a brisk 163 pages, packs a dense narrative punch. The effortless homage to classic portal fantasy and the subversion of the tropes it has created reverberate throughout the book’s plot. This is a story about stories, and the layers are stacked with such care that it’s easy to balance them all even as the pages whisk by at breakneck speed. It’s a testament to McGuire’s talent that these precariously perched elements all blend together so well. Her words about magic have a way of becoming magic on the page, and her narratives are joyous to read. Every Heart contains a murder mystery, tales of worlds beyond our own, coming-of-age commentary, hardship, loss, and so much more. McGuire deftly handles her myriad concepts within a small space, and it’s beyond commendable; it’s worth celebrating. The most I can truly say while remaining spoiler-free is that all the interwoven concepts within this single story are worth exploring, and the story is worth reading.

Dissonance prevails in Every Heart a Doorway. Nancy and her classmates have been ejected from worlds where they felt perfectly at home, and their original world doesn’t make sense to them any longer. Nancy’s desire for stillness, honed by her long stay in the Land of the Dead, is in constant competition with our world’s need for incessant motion. The Wayward Children are dissonant with one another, each coming from portal worlds that have different rules and ways of living. The happiness of finding a world you can call home spars with the darkness of being expelled from that home. McGuire’s concepts are at odds with one another on every single page, offering an elegant commentary on what it feels like to be different, to come from a different place, or to be perceived as different despite countless similarities.

That said, Every Heart a Doorway brushes some of its dissonant narrative elements under the rug. These moments are jarring–for example, the students at Eleanor West’s Home remain virtually unfazed by the death of a fellow student after finding the body. Eleanor cancels classes for half a day, and the teachers notice something is off about the students. The police are referred to as “authorities,” but there’s always some sneaky way Eleanor can conveniently avoid their involvement in anything suspicious or outright villainous. For a book whose premier strength is its handling of intriguing concepts, this glancing over is a significant blemish. 

Fortunately, Every Heart’s weaknesses end there. The characters shine with a unique type of radiance only one who has walked between worlds can claim. Two adult figures bear signs of deep loss and yearning while they try to imbue their charges with a sense of hope. Nancy’s ragtag group of former world-hoppers comprises a few really compelling characters. Among them is Kade, a gender-fluid expatriate of Fairyland; twin sisters Jacqueline (who prefers “Jack”), a bowtie-wearing scientist, and Jill, a vampire’s ward; and Christopher, a flutist whose instrument can animate skeletons. Like I said above, there’s a lot to explore here, and McGuire delivers with dynamic and sympathetic characters. 

Every Heart a Doorway ends with a glimmer of hope and the promise of more beyond Nancy’s story (don’t worry, I’m reviewing the rest of the series, too!). Brimming with personality and breezing by with the help of smart and succinct prose, McGuire’s charming novella is an excellent read. 

Every Heart A Doorway: 8.0/10

Upright Women Wanted – Standing Tall

Upright Women Wanted By Sarah Gailey starts off strong with its main character, Esther, stowed away in a librarian’s book wagon. She’s a runaway in a future dystopian American southwest. Esther is running away from a marriage arranged by her father. The man she was set to marry, was originally going to marry her best friend, and secret love, Beatriz. Beatriz had been found with resistance propaganda, otherwise known as “unapproved materials”, and summarily executed. The old West is back again, but this time with even more small-town tyranny aided by an oppressive military focused on keeping order and restoring “traditional family values.” All the while, a group of upstanding women of reputation, the Librarians, distributes resistance literature under the guise of providing “traditional” education town to town in their roving wagons. 

There is something special contained within Upright Women Wanted, but it doesn’t quite reach its full potential. Gailey has certainly built an immersive world, filled with details that make it feel alive. The casual way stereotypical western movie-speak has infiltrated daily conversation is fun and feels very natural. Gailey leaves no stone unturned as they litter the novella with descriptions that feel old-timey, but with a modern sense of vigor. Every bit of the world-building feels purposeful, and while I wanted more, I can understand the decision to keep some aspects of the world vague. For instance, how this future came to be doesn’t really feel as important as in other dystopias, which felt refreshing. Overall it feels more tangible, as if it just sort of happened while no one was looking, because the oppressive aspects of that culture exist today. 

The characters are a big selling point to me beyond the western trappings. They leap off the page with a dynamism and loudness I was not expecting in a novella. The people that Esther encounters fully understand the world that they live in, and have chosen a life that allows them to skirt the edges. They have to, as they are all queer, unable to live the life they want, for otherwise they’d be hanged by the society that requires heterosexuality. Gailey is not subtle about this either, and it’s bracing. I loved learning about their struggles, but I really loved how they have not succumbed to their fears and taken the fight head-on. There is a lushness to their lives that stands in stark contrast to the open and empty desert around them. Cye, a librarian in training, in particular stands out as they have to lead a dual life since they are non-binary. They consistently remind Esther to refer to them as “she” within towns so as not to give them away. That it was something that their entire well being hinged upon struck me deeply. 

While there is not a lot of time to get deep within the novella, Gailey has added a richness to a straight forward story. It both makes me want more of this world, and satisfied with the story already told. If Gailey never goes back to this world, Esther and Cye along with the other women on their journey have taught me there is always a way to fight for your future, whether it’s in plain view or in the cracks that appear in civilization. 

Upright Women Wanted: 7.5/10

-Alex

Ormeshadow – A Little Slice Of Life

712zdrcfehlPriya Sharma’s Ormeshadow overflows with dark family secrets, generations of lore, and tragedy. Sharma has a knack for pitting characters against one another with beautifully selected words. Ormeshadow reads like a wood-carving: Sharma removes all the excess material and presents a pristine, sharp product that feels at once succinct and sprawling.

Gideon Belman’s life completely changes when his father, John, ushers the family to Ormeshadow farm on the heels of his failure as a scholar in Bath. The land rests near the Orme–a sleeping dragon, as legend puts it, upon whose back the land has grown. John regales young Gideon with tales of the dragon and his family’s inextricable ties to it. John’s wife, Clare, tolerates the stories. Ormeshadow is tended by John’s brother Thomas, a rugged farmhand supported by his wife Maud, his boys Peter and Samuel, and his daughter Charity. The reunion dredges up years of resentment and hatred, and Gideon is thrust against his wishes into a life that seems intent on dragging him into madness and cruelty.

A true novella, Ormeshadow reads at a brisk pace, following Gideon’s life after the move and skipping years of time. Sharma’s chapters are snapshots in time, and the blanks she leaves can be easily filled in by imaginative readers. It’s almost like a series of vignettes, each serving a simple purpose: to tell us how Gideon has coped with the innumerable tragedies that befall him in Ormeshadow. The short length serves to better the book by quickly leading the reader to new, darker territory with every turn of the page.

The plot itself could be described as predictable (and probably has been described that way by some). However, when a predictable plot point was finally revealed, I felt spurred on by it, rather than hindered. Sharma’s characters are so believable that I became ravenous for more detail. To experience the characters dealing with their struggles is the heart of the story. Moments of realization and heartbreak abound, but they’re overshadowed by the subtler character moments that follow. Peppered throughout the book are the stories of the Orme and how it came to be. These stories lend mystical context to the modern-day goings-on in the tale, and they’re the cherry on top of the Sharma’s prosaic cake.

All that said, if you read Ormeshadow for any reason, let it be the prose. Sharma writes with a lyricism and brevity reminiscent of McCarthy’s The Road. She says what must be said, and she does it with remarkable verbal grace. Simple, accessible, and beautiful descriptions lie on every page, and it’s a wonder to behold.

Stories of the Orme and legends of the Belman family give Ormeshadow a distinct mystical bent, as I mentioned above. These, presumably, are the reason for the novella’s “Dark Fantasy” genre-billing. I bring this up because, unless you sensationally interpret the story’s final moments, Ormeshadow is more of a dark realism story. It’s replete with family drama, plenty of lore, and a dash of mystery, but the fantasy elements are minimal. This doesn’t detract from the book’s quality at all. Instead, it’s a fair warning to readers seeking a grim fantasy tale. This novella may not satisfy that particular craving, but it is worth your time.

Priya Sharma’s novella bursts with character and flawless prose. She weaves a tale of family intrigue, dark pasts, and overcoming adversity. For such a quick read, Ormeshadow packs a hell of a punch.

Rating: Ormeshadow – 8.0/10
-Cole

Sisters of the Vast Black – We’re Nuns, We’re Nuns in Space!

I’ve never been a religious person by any stretch of the imagination. Our family only went to church on Christmas, and that was about it. As a result, finding myself excited about the prospect of the Catholic Church in space was a weird experience for me. Sisters of the Vast Black by Lina Rather scratched an itch I didn’t know I had (ARC provided by the publisher through NetGalley). Rather wrote an engaging novel about a small group of nuns learning the meaning of their faith in a galaxy reluctant to embrace the larger Catholic Church.

Sisters of the Vast Black takes place on a living ship, Our Lady of Impossible Constellations, and follows the sisters of the Order of Saint Rita as they travel to a new colony in distress. Along the way, they deal with adapting earthly church doctrine to spacefaring life in big ways and small. The Catholic Church, defeated years ago along with Earth in a war for control of the space born colonies, is resurgent and willing to test its new sense of power and reach. The sisters of the Order begin to feel the influence from the Church themselves, causing them to question their faith. Individuals’ secrets are brought into the light as pressure starts to mount and their loyalty to each other and the church is tested. 

The story itself meandered a little for the first half of the book. It didn’t feel like it had a lot of direction, and the narrative often takes a backseat to the worldbuilding. This isn’t necessarily a bad thing, but since it is a novella I was a little worried about where the story was going to end up. Fortunately, Rather pulls it in for a tighter second half. She uses everything she explored in the first half to hone in on the characters’ individual stories as they grapple with the tightening control from the Church and reignition of war. Any concerns I had about losing the thread were washed away in the succinct but open ending that focused on individual faith in the shadow of the Catholic Church. 

The narrative’s success depended on the characters themselves. Rather takes the time to develop the characters by giving them a weight that makes them relatable. I found myself enmeshed in their lives with the day-to-day of maintaining the ship instead of waiting for something to rock the boat so to speak. The daily repetitive tasks and the small conversations about church doctrine and coming changes helped to build the identity of the characters quickly without throwing a quick succession of  events at the reader. The hushed ways they whispered to each other about their lives, or rumors they have heard built a sense of community among them that set them apart from the world they inhabited. It was a really nice touch that made me care about who they were as people instead of just pieces to move the story along. 

The real star of the book, for me, was the setting. The world Rather created was subtle yet incredibly enticing. Not only did the church feel important to the characters, it felt like a living presence within the solar system. There was a history that felt raw and immediate, like an open wound that had not been properly tended. Rather wrote a distinct lack of finality to everything that made the world really come alive. There was also a lot of understated interplay between the characters and the setting, making the characters feel present within the world while also being very affected by it. I think that without the deft handling of the setting and its effects on the people living in it, this book would have fallen short. 

Sisters of the Vast Black is unfortunately brief, but it packs a punch. The themes of sin and redemption are cleverly explored through the characters and the world. Rather’s sense of history and ability to portray the longstanding effects of past events is admirable. I want more of this world, more of the people living inside it, finding their way in the dark. I want to watch it change in the small subtle ways that mirror the real world. Needless to say, I recommend Sisters of the Vast Black especially if you’re looking for something a little different that feels human at heart, and otherworldly in scope.

Rating: Sisters of the Vast Black – 8.0/10

This Is How You Lose The Time War – Long Title For A Short (Great) Book

71uzngwnyelI didn’t want to write this review. Strong start, right? I want to clarify that my reluctance to write critically about This Is How You Lose the Time War, by Amal El-Mohtar and Max Gladstone is not out of laziness or a lack of motivation. I loathe having to review writing I find profound in some way, through its message or its romance or a myriad of other sweet words to describe mostly indescribable experiences. I think mainly it’s a concern that I won’t do the piece justice. That my halting and insecure attempts to explain to others why it was that I was touched by a book won’t sufficiently get across the magic of the story. I’m so glad I didn’t have to review the Divine Cities series or The Night Circus for this specific reason. What else is there to say, really, when a text brings you to tears and rekindles a neglected but essential part of yourself? The fact that This Is How You Lose the Time War is one of these special stories was not super great for the part of me that is a reviewer. However, part of me that screams out for something bright and hot and dangerous to warm the essence of myself by, the part of me that fell in love with reading in the first place? That part of me needed this book.

To give you a brief rundown, there is a time war going on in the book This Is How You Lose the Time War. Yes, I was shocked as well. Our main characters, Red and Blue, are time traveling super agents from two separate futures. In one, a hyper-technological race of humans who have augmented themselves to be nearly wholly made up of machine have won and dictate the future. In the other, a hyper-advanced race of humans that has used biotech to augment themselves and their universe with what would be called “nature” if it weren’t used so unnaturally have won and dictate their future. The bulk of the story takes place as correspondence between these two agents at various points in the past and future as their paths overlap. What starts as a taunting letter to a respected foe eventually leads to a surprisingly touching and meaningful romance between the two. Sounds like a spoiler, right? Nope, literally laid out on the back of book blurb. That’s normally the kind of thing that would spoil my enjoyment of a story somewhat, but the fact that love is inevitable, that the future is inevitable is a huge part of why the story works as well as it does.

So my “boss” here at QTL, Andrew, who I have spoken of in reviews with both great love and great annoyance, has a large number of things that he loves in books (magic schools as an example), as well as things he tends to strongly dislike. One of these latter things is time travel. I understand and agree with him in most cases, as it’s generally done poorly, lazily, or merely competently which tends to gum up the workings of a book and mess with pacing enough to take the reader out of the flow of the story. I recently found a book I thought did it well in Middlegame, but after reading TIHYLTTW I have to compare stories involving time travel to a new standard. I love the way it’s handled in this book, and the ways in which we are exposed to the various eras that our characters play their futuristic-and-incredibly-dated-at-the-same-time- exactly game of phone tag in are beautifully described without lingering. I loved the idea of one of our agents, having lived as a north atlantic fisherman for the last ten years in an individual strand of time, seeing a pattern in the spots on a seal and interpreting that for the letter it was. I loved the future strand where an agent commits genocide by uploading a computer virus to the wrong place at the right time. I cannot think of an individual vignette in the story that wasn’t both useful and beautiful. This is a book with no fat on its bones and an exquisite skeleton.

I do want to take a moment to gush about the prose in this book. I thought, in the first chapter or two, that it was a little overwrought, a little too self-assured in its prettiness to the point that it almost came across as cocky. I don’t know if that’s quite the right way to describe it, but that was the first impression I got. Something akin to “don’t you just think you’re so clever?” But that’s the thing, it really is that clever. Each word is important, each description is purposeful, and the way unimaginable worlds are described varied from beautiful to horrifying and back within sentences. For those readers who go outside, and have been to the Badlands in South Dakota, this book has the same foreboding and otherworldly beauty that the terrain in that national park does. I’ve never gotten that particular feeling from a story before. I felt like an alien while I was within its pages, eyes wide open and toiling to comprehend the vistas being laid out before me. Oh, and for those of you who know me from my cosmic horror reviews, the description of the Garden made me want an entire horror series taking place there, not being there for longer within the story is the most acutely painful thing about this book to me.

You’ll notice I haven’t reviewed our characters yet. I’m not going to as I worry I’ll spoil something, some of their development or a line from one of their letters might be that one important jenga piece to the whole tower. I can’t begin to pick apart what’s the really important stuff and what’s the stuff that’s just gorgeous and luxuriant. While you “meet” another one or two sentient creatures in the story, we really only have the two main characters, Red and Blue, and as such we are given a surprising amount of space to stretch out and learn about them even within a novella. Their growth was superb and believable, their tit-for-tat taunting and one-upsmanship was fun, and parts of their stories broke my heart despite the fact that I guessed the twist. I love them and truly, truly hope we get more of them in a series or a short or really anything in the future (whichever one it ends up as).

Well I loved it. That part is obvious if you’ve gotten this far. I could not imagine this story being made better by being longer or shorter than it was. Each individual vignette was poignant and beautiful. Each letter Red and Blue exchange buoyed my heart and broke it once more. I was blown away by each world visited, each timeline changed, and each trivial fact about their respective childhoods. What’s more, everything I just mentioned that I loved meant something. It was all important to the conclusion of the story and it was wrapped up in a way that literally had me audibly “wow”-ing on an airplane, earning me several suspicious looks from the man in the seat next to me. I will be reading this multiple more times in the future, and this may end up being one of my few “yearly rereads”. If that’s not a recommendation, I don’t know what is.

Rating: This Is How You Lose the Time War – 10/10
-Will