The Shore of Women
A fascinating post-apocalyptic society where women rule technologically advanced cities and men live as wilderness barbarians. Unfortunately, the intriguing worldbuilding takes a backseat to a tedious, unconvincing romance, uneven pacing, and frustrating gender essentialism.
The Woman Who Loved Reindeer
What begins as an intriguing fantasy about a young seer raising a shapeshifting child takes an absolutely horrifying turn when their maternal relationship becomes romantic—while he's still underage. An emphatic DNF, because some things are too gross to read past.
The Far Forests
Fifteen charming, gently supernatural tales of romance, mystery, death, and other peculiarities. Joan Aiken makes even her macabre stories feel cozy and inviting, creating a quietly delightful collection with surprising moments of substance.
Two-Bit Heroes
Theodora returns to Ivory, gets engaged to Ran, and finds herself tangled up with a band of outlaws. A slow start and a messy ending can't spoil the delight of spending more time with Doris Egan's wonderfully human characters.
Phoenix Fire
A light urban fantasy involving Chinese mythology, an ancient demon, and a rather underused phoenix. It has all the charm, questionable plotting, and nostalgic familiarity of a 1990s PG-13 action movie.
The Witchstone
Three villains pursue a magical stone, and an intriguing exploration of damaged people gives way to a disappointing quest and an unconvincing redemption. Wonderful beginnings, frustrating execution, and yet another case of Bad Back Copy.
Tea with the Black Dragon
A supposedly fantastical romance-thriller whose dragons barely dragon, characters barely investigate, and technical jargon never seems to end. At least Mayland Long is likable.
War for the Oaks
It’s good—it’s dazzlingly good—but it’s also quite simple. War for the Oaks is lyrical, methodical, and shines with an exquisite attention to detail.