#REVIEW: Babel, or The Necessity of Violence: An Arcane History of the Oxford Translators’ Revolution, by R.F. Kuang

I admit it: I thought about just putting Babel in as the name of the book for the headline there, but really, when a book has this grandiose of a title and more especially when it earns this grandiose of a title, you really need to lean into it. So you get the whole thing.

First things first: this book does not come out until August 23rd. I have had absolutely incredible luck lately with getting advanced reader copies of books I was frothing at the mouth to read– first getting a copy of Jade Legacy several months early, and now lucking out and getting my hands on Babel by winning a Twitter drawing. I have reviewed all three books of her series The Poppy War, and two of the three ended up on my Best Of list at the end of the year. To be brief– because this book has nothing to do with those books except for some overlapping themes– they are an astounding achievement in fantasy, particularly when you take into account that even now, four books into her career, R.F. Kuang is somehow only 26 years old, meaning that I was in college when she was born.

Christopher Paolini, eat your fuckin’ heart out.


Babel is set between 1826 and, oh, the mid-1830s or so, primarily at Oxford, and is at least mostly a historical fiction novel. Why “mostly”? Because in the real world there wasn’t a gigantic tower in the middle of campus that housed the Royal Institute of Translation, which kept the British Empire afloat via a translation-and-silver-based magic program. That’s … new. And it’s weird to say that Kuang mostly adheres to real history other than this thing that literally touches every aspect of the British Empire, but she does. And this is where I’m kind of perfectly situated for this to be my favorite of her books: you might recall that at one point I was working on a Ph.D in Biblical studies– the Hebrew Bible, specifically– which means that while intellectually I can’t hold a candle to any of the four students who form the main cohort of this book, it does mean that I’ve had a lot of the same conversations that they have at various points in the book, and that I’ve spent lots of time thinking hard about a lot of the same issues that are inherent to the concept of “translating” something from one language to another, even before you get to the part where one of the things being translated is literally considered holy Scripture.

Also, one of my buddies from that graduate program is now an actual professor at Oxford, so while I’ve never set foot on the campus I know people who work there, which … doesn’t mean anything at all, actually, but I’m happy to bask in Bill’s reflected glory– and if you’re reading this, my dude, you must find a copy of this book when it comes out. And then send me one, too, because the UK cover is way better than the US one and books with sprayed edges make my jibbly bits feel funny.

The main character of the book is called Robin Swift, a Chinese orphan who is taken as a ward by a professor at the Institute of Translation and brought back to London, eventually to become a student at Babel himself. Why “called” Robin Swift? Because Dr. Lowell tells him that his actual name– never revealed in the text– is no fit name for an Englishman, and makes him choose another one. When Robin arrives at Oxford, he meets the rest of his cohort, composed of two women, one Black, and a young Muslim from India. You may perhaps be raising an eyebrow at this, and you’d be right to, as Oxford didn’t admit women or anything other than white people in the 1830s, but Babel has different standards and different rules than the rest of the university. The book follows Robin and his friends through their first four years at the university, as they learn more about Babel’s workings and about how the silversmithing that underlies so much of Britain’s power works, all while living in Britain and attending a university while, for three of them at least, being visibly Not British.

So in addition to being another really good R.F. Kuang book about a young scholar in over their head (no uterus-removals in this one, though) this book is also about racism and colonialism. In fact, I’d say it’s mostly about racism and colonialism, and specifically the way both manifest themselves in the university, and about what it’s like to be complicit in the oppression of your own people, and what “your own people” even really means if you were raised away from them. And all of that sounds really deep, and it is, but it’s also a hell of a good story, with fascinating characters and lots of worldbuildy magic stuff that may as well be serotonin injected directly into my brain.

I loved the Poppy War books. I loved this more than any of them, and if R.F. Kuang wasn’t one of my favorite writers before, she absolutely is now. Pre-order this, immediately. You can have it in August.

In which I need to be clear

Fuck, and I cannot express this any more sincerely, Cuphead.

I’m just kind of screwing around with my various video game systems while I’m waiting out the Elden Ring series, and after five years of sitting on the fence about it I finally downloaded Cuphead.

Two reasons for the delay: one, the game’s visual aesthetic borrows extensively from 1930’s era Fleischer cartoons, with all the racist history that that era and that style of animation brings with it. And if I’m being 100% honest I feel kind of dirty about it. I dropped $20 on the game; I may make an equal or larger charitable donation somewhere appropriate and see if that eases my conscience at all. (To be clear, I haven’t noted anything directly problematic with the game itself, and you should read the articles I linked to, both of which make a nicely nuanced case about the game, but … it’s squicky. That’s a scientific term.)

Also, not for nothin’, it’s hard as hell, and that’s coming from me, a certified Fromsoft Guy. Worse, it’s hard as hell with short chapters, so there’s tons of swearing and immediately jumping back in going on, all the while insisting that I’m going to quit after this fucking stage kills me one more time. I mean, you win a stage in like a minute and a half if you’re playing well, probably faster once I get better at it. But I’m not going to get better at it if I end up throwing the Series X out a window, now, am I?

(Subject for a later post: I hate the Xbox Series X’s UI, a whole fucking lot.)

I devoured John Scalzi’s new novel, The Kaiju Preservation Society, over the last couple of days, and it was exactly what I wanted from it. Kaiju might be the John Scalziest book that John Scalzi could possibly write, and given his description of how the book happened (he spent 2020 beating his head around a novel that was decidedly out of his comfort zone and ended up bailing on it, and then this novel jumped into his head more or less in its final form and he wrote it in barely two months) it’s not hard to see how it ended up that way. Now, I love Scalzi’s style– my writing at its very best approaches Scalzi’s command of his tone, and I think I’m flattering myself by saying that, to be clear, but this is someone I look up to– but it’s turned up to 12 here, to the point where he almost feels like he’s parodying himself a little bit. Like, not every single conversation needs to be quippy. Sometimes people can just talk. If you’re not already a fan this isn’t going to be the book that convinces you (I’ll hand you Redshirts for that) and if you’re a fan you’re going to enjoy it. The rest of y’all? Smart, sarcastic, accessible science fiction and giant monsters. The word Kaiju is right there in the title; you know what you’re going to get. Go grab it up.

Well, that’s new and completely awful

I have been informed by my students that today’s events are the result of another fucking TikTok trend, but I have yet to actually encounter it anywhere on the site and I am certainly not about to go looking. I can only say that never once, in my entire teaching career, which began in the year 2000 and has spanned two cities, over a half-dozen schools and, conservatively, probably a few thousand kids, never once in all that time have I had to explain to Black children that yelling “White Power!” at the top of their lungs in the hallways or in the classrooms is perhaps not an entirely appropriate thing to do.

Until this week. Where I have had to do it more than once.

I am fucking tired.

I’m so tired of this shit

And the cycle continues.

Republicans are elected.

They destroy and loot everything they can find.

Eventually voters get tired of it and elect some Democrats.

The Democrats can’t fix every single thing the Republicans broke in two years.

The voters get mad and elect Republicans again. Who destroy and loot everything they can find.

Ad nauseam.

And believe me, I’m fucking nauseous right now.

#REVIEW: Queen of the Unwanted, by Jenna Glass

So, if you’re going to make a series switch from hardcover to softcover after the first book comes out, which already guarantees the books on my shelf aren’t going to match, and then you’re going to compound not-matchiness by making sure that the cover design changes radically from the hardcover to the softcover editions, the least you can do is make the softcover editions awesome. And I have to admit it: this has me considering buying the first book again in paperback just so that they match, since the new versions look so Goddamned good.

This is one of the tricky ones. If you look at Goodreads reviews for either this book or the first book in the series, called The Women’s War, you’ll notice that they’re … we’ll say messy. The basic premise of this series, boiled way down, is that a group of women, forced into prostitution when their husbands chose to divorce them or they were deemed unnecessary in other ways, manage to make a fundamental change to the way magic works in their world to give women more agency. To wit: among other things, sexual assault now causes little bursts of magic to be released that can kill the man performing the assault. Magic is explicitly gendered in this series, and without going too deep into the weeds there is women’s magic, men’s magic, and ungendered magic, and while women’s magic has historically been suppressed and devalued, this spell also kicks women’s magic into much higher gear, also creating a wellspring of feminine magic in the middle of what was formerly a wasteland that quickly becomes a feminist kingdom. The main characters are all royalty of some stripe or another, although several of them are former royalty who have been forced to be Abigails (their word for the prostitutes,) one way or another this book is not especially concerned with regular people.

It’s also not especially concerned with gay people, or trans people, or people of color (but more on that bit in a moment,) and two of the three most evil people in the series are the only fat person (we are reminded, Bomber-like, of his fatness every time he is mentioned) and a woman with a facial disfigurement. There is also a blind woman who is One of the Good Guys, but it’s made clear very quickly that she’s not only Not Really Blind, but she’s quickly offered a cure (which, to give some credit, she doesn’t take.)

You can probably imagine that this has caused some controversy, particularly for a book that is pretty explicit about being about high-fantasy feminism. Like, when you tell me that whether you’re male or female can not only affect what kind of magic you can perform but what kind of magic you can see (magic, in this world, is performed by combining “motes” of what are basically magical elements that float around in the world, and so certain kinds of magical motes are easier to find in some places or another, and part of what determines your skill as a mage is how many different kinds of motes you can perceive in the first place,) I’m going to immediately start wondering about how trans people fit into your world, and I’d almost rather you terf it out and go strictly biologically than completely ignore that trans people exist.

And even laying aside the identity and representation concerns, there’s a persistent feeling throughout reading this book that Jenna Glass really didn’t bother thinking super hard about the aspects of her worldbuilding that she wasn’t interested in. For a book that is all about shifting alliances between rival kingdoms, a book where the phrase trade agreements shows up on nearly every page, she doesn’t seem to have much of an idea of how trade works, unless her various principalities and kingdoms are unimaginably small. One of her kingdoms is repeatedly described as the sole source of iron and gems for all the surrounding kingdoms, for example, and you get the feeling that the “trade agreements” between these countries are sometimes over a few pounds of metal. It’s surprisingly low-resolution compared to how well she brings in the political implications of, say, marriages between warring families. But trade? Just say “trade agreements” on every page or two and let the audience fill in the details. At one point after a book and a half you find out that two of the countries speak different languages, and I swear to you that she decided that on the spot so that she could have one character not quite understand what was going on around her. I’m not going to reread the first book to confirm that multiple languages hadn’t ever been mentioned, but they certainly hadn’t come up in the second until it was convenient. Stuff like that.

The thing is, though, IF you can get past all that– and I absolutely would not blame you for a single second if you declined to even try— the book that is here is pretty fucking compelling. What Jenna Glass does really well is write characters, and she’s done a good job over these two books of filling her pages with characters with competing and overlapping sets of interests and national cultures and setting them against each other. It took me forever to get the second book ordered and then to actually pick it up once I had it on the shelf, but now that I have, I feel dumb about taking so long and want to quickly order the final book of the trilogy, which is already out. So it turns out to be one of those books that I can’t really recommend, because of the various bits of sleeve and sloppiness, but I can accurately report my own reaction to the book and let y’all decide, right? So, yeah: I read this, and I enjoyed it, but it’s a mess, and it might be worth it for you to check it out and maybe it might not, so make your own call.

Let’s talk about the race thing for a second. It is interesting to me that the only characters in this book who the book takes care to describe physically are people from Nandel. Nandel is in the north– it’s the iron-and-gems country– and it’s the most openly misogynist of all the various cultures that exist in this book. Nandelites are also repeatedly described as being blonde, blue-eyed, and pale. Over and over again, in fact, and any time anyone else is referred to in terms of their skin color it’s always a shade of brown, although frequently Glass also tosses in a reference to working outside or something, so you never know just what anyone is supposed to look like. I’m going to point out real quick that a world where only whiteness is considered interesting enough to comment on might be a world where brown skin is the default, and then also point out that if everybody is brown except for these handful of characters (none of whom are primary POV characters) then Glass could certainly have been a hell of a lot clearer about it, as this is roughly akin to J.K. Rowling suddenly claiming that Hermione was always meant to be black because her hair is curly.

I will leave it as an exercise to the reader whether that makes any meaningful difference. I suspect not, but YMMV, as always.