Under 1%.
That’s how many publisher recommendations and reading copies have slipped into my stacks this year (apart from paid review work).
Because my policy has always been to review every book I’m sent, I’ve always been very particular about what makes it to my post box.
But recently I have perfected the art of saying “no, thank you”.
(It wasn’t always like this: in 2014, that statistic was 35%!)
Alix E. Harrow’s The Ten Thousand Doors of January (Hachette, 2019) was a ‘yes’ for me this summer. In an I-can-count-them-on-my fingers year of approvals.
This had something to do with it:
Nebula Award nominee (Best Short Story)
Hugo Award Winner (Best Short Story)
2018 Apex Magazine Story of the Year Winner
Eugie Award Finalist
WSFA Award Finalist
Locus Award Finalist
Not for The Ten Thousand Doors of January, but for her short story: “A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies.”
And for her acknowledged love of portal fantasies as a girl-reader.
But even more so for her determination to remake them as grown-up-writer.
She describes this process in an interview with A.C. Wise:
“And after that I started thinking about turning portal fantasies inside out and backwards—making them about home-going rather than escape, about belonging rather than conquering.
(My ideal fantasy realm is something like Earthsea, where I would tend goats and work women’s magic and no one would ever know my name. Or maybe it’s Hogwarts, where I teach the History of Magic properly. Or maybe it’s Novik’s Wood in Uprooted? Anyway, I live in a house like Howl’s and have doors leading to every realm on different days of the week).”
Something else that swayed me? Everywhere you look, where there’s talk of Alix E. Harrow writing, there is talk of her reading. Nothing wins my reader’s (and writer’s) heart more immediately and wholly.
When she speaks about her writing process, she speaks about her reading process. And sometimes the talk is overtly celebratory, as in her interview with “The Nerd Daily”, which concludes with a list of recommendations.
In an interview with Barnes & Noble (in which writers are interviewed by their SO), she offers a succinct description of her story and then elaborates:
“One of the conceits of the book is that Doors leak. Ideas, people, objects—and especially change. So I mostly worked backwards, beginning with a story or event in our world and imagining the secret Door that might exist behind it. The Indian Rebellion of 1857. Toussaint L’Ouverture’s revolution. Selkie stories in Maine and boo-hangs in New Orleans. And there may or may not be references to a couple of other fantasy worlds. (Readers, your clue is: alabaster.)”
See? More stories.
I also love the sound of her next story (also discussed in her “The Nerd Daily” interview): “My next book is another standalone historical fantasy from Orbit with a three-word pitch: suffragettes, but witches.”
In the same way that I hoped Diane Setterfeld’s The Thirteenth Tale would be bookish enough, in the same way that I hoped that Ami McKay’s Moth stories would be witchy enough, in the same way that I hoped Becky Chambers’ trilogy would be weird enough: I hoped that saying ‘yes’ to Alix E. Hawley’s novel would make it magic enough. And it did.
Oh, I loved this book. Completely immersive; you can feel the Earthsea there but also so much more. I loved it!
Of course it’s bookishness is a huge part of the appeal…but it only makes sense for a storyteller to include books in a story!
You have made me fall in love with this author, whoever she is. (I will look her up!) And I love that she writes stand-alone fantasy. (You know I like that!)
I’m tempted to write another post about the actual story, but I so enjoyed simply falling into it, that I don’t want to interfere with that for other readers. As I mentioned to Laila, even if you’re not particularly a fantasy reader, I think you’d really enjoy this one. It would also make a nice October read without being exactly spooky (if you’re done with those Davies stories!). And I think I and L would like it too!
Oh… that’s good to know!
Here are a couple of quotes – spoiler-free – deliberately selected to entice you:
“It is my hope that this story is your thread, and at the end of it you find a door.”
“I wanted to run away and keep running until I was out of this sad, ugly fairy tale. There’s only one way to run away from your own story, and that’s to sneak into someone else’s. I unwedged the leather-bound book from beneath my mattress and breathed in the ink-and-adventure smell of it.”
looks innocent
Oooo…..
Good on ya for being so picky-I really need to take a page out of your book (hah!). I’m curious about Ami McKay’s Moth stories-are they quite a bit older? I need to read her memoir b/c I’m interviewing her at Wordfest in a few weeks, but I did like her recent witch series
It took me a few years of juggling to shift my way of thinking, and there are things that I miss about the other situation but, overall, I’m much more content and less stressed with things this way. It’s great to have events like WordFest to keep your reading current though. (I’m referring to them as the Moth stories, but that’s just my terminology: they’re great stories to recommend, the newer novella too!)
‘Suffragettes, but witches’ sells me, too.
It makes me think of Lolly Willowes!
Sounds wonderful, and that cover is gorgeous (which doesn’t hurt.) I don’t read a lot of fantasy and when I do it tends to be the more grounded in reality kind (like Harry Potter or Kelly Link – set in worlds that are reminiscent of ours.) Does this one feel like that or is it total world-building?
It is just beautiful, isn’t it. And all those illustrative elements are overdone, but, here, they have been done so well: I love it! Without treading even slightly into spoiler-territory, I can say that I think you would like this one. There is so much to connect with, that, in my opinion, voice/emotion works to secure any world-building she does, so that fantasy-readers and mainstream-readers are both comfortable in the story.
Yes, me too, with very, very rare exceptions, if I agree to review it, then I do. So I am also very choosy about what comes into my post office box.
But I come (literally) from a different place to you, and so I do my best to review as many new release Australian authors as I can. 53 so far this year, out of what will probably end up being a couple of hundred books for the year, so more than 25%, sometimes more than that. (74 last year, and 99 the year before that).
I do that because Australian new releases compete with a flood of books from the US and the UK, and perversely, our print reviewers very often review those and not ours. So our authors need all the publicity they can get:)
Yes, I hear you. I’m ambivalent on this issue, careening towards reviewing all-the-CanLit and then retreating into backlisted-reading and back and forth again. It’s definitely an issue here, too. And review publications are still declining here as well. (Although, with e-reading, there does seem to be slightly more coverage of Canadian authors in unexpected places, now, that didn’t exist, now that readers can purchase with a ‘click’ if rights are available. For instance, David Szalay’s Turbulence unexpectedly appearing on the NYTBR a few weeks ago. Nice surprise!) And no matter how I try to focus on my older TBR lists (and various projects) I’m still compelled to keep reading newer things all the same (15% of my reading, in this all-things-backlisted year carries a 2019 pub date – so, um, not backlisted at all laughs at self-delusion). On another note, my copy of the Amitav Ghosh novel is en route. rubs palms