I was a bit irked - apart from my previously stated historical-accuracy nitpicks - by the representation of women in The Limehouse Golem - no positive ties between any of the women characters, apparently either bitches or victims (even if the denouement complicated that), and the idea that Gay Men Were Their (unsuccessful and even deluded) Saviours.
And then I read some interview with I think Peter Ackroyd himself about the original novel and the film (cannot remember whether it was in the paper or online somewhere), and the opinion was expressed that in 1880, only a man dressed as a woman could speak for women.
A dubious proposition, I contend, in that there is also a tradition of drag as a way of expressing misogyny.
But women in 1880 were not silenced: this was a mere 3 years before the campaigns against the Contagious Diseases Acts (and when people are talking about statues of women, when will we have one for Josephine Butler?) obtained the suspension of the Acts, which were repealed in 1886. The 'Shrieking Sisterhood' as they were described in the hostile press, were very much not silent and not inarticulate.
Nor was this entirely about middle-class women. I'm pretty sure that women music hall performers expressed certain dissatisfactions with the state of things as they were in gender relations. There were also the drag kings of the day sending up men, if only by gentle subversion.
I can see it makes for a powerful narrative to have a woman so silenced that she can only make a protest by violent physical means, but I don't think that can be turned into a master-narrative for the entirety of society at that era.
This is the culmination of the trilogy that started with Updraft. If you're the sort of person who needs to know that something has a definite-and-for-sure ending before you buy that thing: here you are, here is the ending, it is a really-truly ending that ends. (I really want to encourage people not to do that, because it's a good way to make sure people don't get to have their endings published--especially people like Fran who have given you nice volume endings in addition to the larger series ending. But I know that such people exist, so! Here is the information you were looking for: ending!)
I don't recommend starting with Horizon. This is clearly a culmination, and there are only two books before it to give you the plot and character arcs Fran is weaving together here; it's not like you have to read twelve bugcrushers to get to what she's doing here. Kirit and Nat and their friends and relations--and grudging allies, and adversaries--are back and struggling for survival--trying to figure out, from page one, what shape their survival can even take.
For that reason, it's hard to review Horizon in very concrete terms, because there's so much that it's doing that depends on the previous books. It's exciting from the first page, it's all engineering and all social and all heart, all at once. Fran's weaving threads and perspectives together in ways that she didn't in previous books--rather than resting on previous successes, she's doing this book in a new way, and it works. It's the way this book would have to work, but I love to see that in a first series, rather than copying the structure of a first book that's had as much success as Updraft has, I love to see an author following the story and doing what it needs even if the structure isn't the same. The previous volumes didn't pull punches, and neither does Horizon, but it does that in its own way.
The ending is satisfying without being overly tidy, without being one-size-fits-all for characters who have spent this whole trilogy coming in different sizes. And...I really appreciate the way people with common goals don't always trust each other, don't always like each other--and are sometimes very grumpy at the compromises they have to make with each other. The world is like that; the world of fiction too often finds it difficult to be both satisfying and realistic, but I think Horizon manages both. With lots of astonishing creatures and feats of derring-do in between.
Please consider using our link to buy Horizon from Amazon.
This is intended to be a Dreamwidth equivalent of yuletide.
He did write a few, though, and a highly characteristic one is the Charterhouse Suite for strings. This has an unusual origin. VW wrote it for piano, an instrument he was not often drawn to. It was arranged for strings by another hand, but it still sounds a lot like VW, in part because the arranger was good, he worked under VW's supervision, and also because much of the music is modal, typical of his work.
The six movements are Prelude (0.01), Slow dance (1.44), Quick dance (3.40), Slow air (5.57), Rondo (9.40), and Pezzo ostinato (11.43). Enjoy the attractive views of the English countryside on the visual side of this file, too. Since RVW was pre-eminently the composer who caught the spirit of the land ("cowpat music," those who didn't like it called it), that's appropriate.
Feeding Mr. Whiskers, by Dawn Bonanno (Fireside)
Dire Wolf, by Michael J. DeLuca (Beneath Ceaseless Skies)
Man-Size, by Gwynne Garfinkle (The Sockdolager)
The Last Cheng Beng Gift, by Jaymee Goh (Lightspeed)
We Came Here to Make Friends, by Martha Hood (The Sockdolager)
If a Bird Can Be a Ghost, by Allison Mills (Apex)
And Sneer of Cold Command, by Premee Mohamed (The Sockdolager)
Plain Jane Learns to Knit Wormholes, by Wendy Nikel (Flash Fiction Online)
Birth, Place, by Brandon O'Brien (Uncanny)
Stories We Carry on the Back of the Night, by Jasper Sanchez (Mithila Review)
Clearly Lettered in a Mostly Steady Hand, by Fran Wilde (Uncanny)
You Can Adapt to Anything, by John Wiswell (Daily Science Fiction)
Lawful Good A lawful good character acts as a good person is expected or required to act. He combines a commitment to oppose evil with the discipline to fight relentlessly. He tells the truth, keeps his word, helps those in need, and speaks out against injustice. A lawful good character hates to see the guilty go unpunished. Lawful good is the best alignment you can be because it combines honor and compassion. However, lawful good can be a dangerous alignment when it restricts freedom and criminalizes self-interest.
Halflings are clever, capable and resourceful survivors. They are notoriously curious and show a daring that many larger people can't match. They can be lured by wealth but tend to spend rather than hoard. They prefer practical clothing and would rather wear a comfortable shirt than jewelry. Halflings stand about 3 feet tall and commonly live to see 150.
Wizards are arcane spellcasters who depend on intensive study to create their magic. To wizards, magic is not a talent but a difficult, rewarding art. When they are prepared for battle, wizards can use their spells to devastating effect. When caught by surprise, they are vulnerable. The wizard's strength is her spells, everything else is secondary. She learns new spells as she experiments and grows in experience, and she can also learn them from other wizards. In addition, over time a wizard learns to manipulate her spells so they go farther, work better, or are improved in some other way. A wizard can call a familiar- a small, magical, animal companion that serves her. With a high Intelligence, wizards are capable of casting very high levels of spells.
Find out What Kind of Dungeons and Dragons Character Would You Be?, courtesy of Easydamus (e-mail)
And it's available for preorder. Just in case the times we live in aren't dystopic enough for you.