The Ursula K. Le Guin Prize for Fiction lodged in my mind because I really loved its inaugural winner: Kadija Abdalla Bajaber’s The House of Rust when I first read it. Bill and I read it again earlier this year, while anticipating the announcement of this year’s shortlisted books.
The more that I read now about the climate emergency, the more references I find within my other reading. Here, in Deirdre McNamer’s Aviary (2021), an unexpectedly lyrical rumination: “She prayed for the groaning, hectically gorgeous, steaming world, which seemed, more and more often, to lurch and shudder on
In Daisy Hildyard’s The Second Body, she shares this admission: “In a technical way, I believe in climate change, but I do not much act as if I do. (I take flights.) I don’t really inhabit it. I have never bought a book with Climate Change in the title
This isn’t a book I planned to read. From my perspective, Brockovich’s activism is more relevant to American readers and I’d be better off reading Maude Barlow’s Whose Water Is It Anyway? (2019). In some respects, this is true. Brockovich does present some detailed information and updates about water
In which pages are turned, at a faster rate than usual. Character-soaked, but still fast-paced storytelling. Cherie Dimaline's The Marrow Thieves (2017) is set in a future in which the dominant culture has determined that the blood of indigenous peoples holds an inherent value for healing. Exploitation and genocide ensue. This
