The Skull Throne (Demon Cycle, #4)
681 Seiten

With The Skull Throne, the Demon Cycle is back where I love it: Character development including plenty of queer relationships (explicit working polyamory among them), people with relationship troubles, stubborn politicians, clever politicians, and the previously known and loved characters smack in the middle of it. The action is mostly split between two groups, with one dominating the first half and the other the second, which didn't always feel smooth – but both action and character development is well-rounded, and the established world building is expanded where necessary. Definitely a step up from the previous two books! I'm very much looking forward to the next book in the series.

Look to Windward (Culture, #7)
496 Seiten

Look to Windward tells the story of a reluctant counter-Culture agent and wasn't really my cup of tea. While I appreciated that we get to see more of the regular, day-to-day life of people in the Culture universe, and that we also get the outside perspective on the Culture, too little happened and the story crawled along. A bit after the halfway mark, things got a bit more exciting, but overall it wasn't one of the better Culture installments, I'd say.

The Fifth Season (The Broken Earth, #1)
468 Seiten

There was nothing about The Fifth Season by N.K. Jemisin that I didn't like. It's a bit short, maybe, but we have two more volumes to balance that.

The Broken Earth is stunning scifi/fantasy. It contains a world with a huge (and very relevant) history. It has intricate and important environmental mechanics. It has different cultures, and those have different ticks and traditions grown from aforementioned history and environments. And these are the things that are the backdrop the reader is expected to pick up.

It's the backdrop to detailed, flawed, real characters. People who live in a hard world and make do in very different ways. And the author didn't take the easy way out, there are no "Not a Mary Sue But You Have To Love Me" people in there, either. The flaws of the main cast are sometimes grating, but always understandable.

And the writing is plain good, too – both the style and the pacing and the changes of both between narrative strands are truly well-done. Sometimes it allows the reader to be half a step ahead of the narrative, but only just, and never for long.

So, yes, this is a brilliant book, you should read it, and I can't wait to read the other two volumes. And in addition for all the things I've recounted here, be prepared to wonderful, not over-the-top, authentic queer characters. I don't think I've ever seen this level of thoughtful, practical, low-key inclusion of queerness in a book of anything approaching this quality.