Someday you might find...

Title: A Memory Called Empire (Teixcalaan #1)
Author: Arkady Martine
Narrator: Amy Landon
Genre: Fantasy/Sci-fi, fiction

I realized as I was approaching the end of this book that it is the third unfinished series sapphic SFF centering the machinations of an empire that I've read lately (the others being The Locked Tomb and The Masquerade). A Memory Called Empire is the first book in the Teixcalaan series by Arkady Martine (narrated by Amy Landon in the audiobook) and tells the story of Mahit Dzmare, a diplomat from an as-yet-unconquered satellite state of the Teixcalaanli Empire entering her role as ambassador for the first time--after the previous ambassador went radio silent. 

For fans of fantasy politics, I highly recommend this one. Mahit enters a political scene on the cusp of boiling over and is thrown not only into navigating a culture and society she's only ever read about, but having to piece together what her predecessor was doing, why he was doing it, and what happened to him. It's a whirlwind of not knowing who to trust, what to lean on, or where to go.

Martine creates such an interesting world here in Teixcalaan and the mindset of a people who pride themselves on being artists above all and yet exist as ruthless conquerors within their corner of space. Furthermore, Mahit herself is in a fascinating position as someone who's been half in love with this empire since childhood, and yet is all too keenly aware of the threat it poses to her and her home. Mahit does well in Teixcalaan--she loves the poetry and literature they so highly prize, she's able to navigate Teixcalaanli society and see the double meanings everywhere, and she's excited to try her hand at these things. And yet--if she plays her cards wrong, it will end with her home being gobbled up by Empire, and as Mahit herself says: Nothing touched by Empire remains unchanged.

I really enjoyed her characters too--3-Seagrass stole the show for me--and they all have believably varied and grounded views and opinions, with the sorts of blind spots and biases you would expect from people in their respective positions. There's character growth and change too, which is always fun to see, and I'm excited to see how that progresses in the next book.

If I had a complaint, and it's a minor one, it's that the prose is sometimes overly repetitive and explanatory, as if Martine doesn't quite trust her audience to remember things from earlier in the book, or understand what's being implied, which occasionally has the effect of making Mahit look less intelligent than her role would demand. However, it didn't happen often enough that I was truly annoyed, and I think the book gets better about it as it goes on.

On the whole, a fun, exciting read (although it takes its time to set up--expect a slow start!) that left me actually looking forward to my commute for a chance to listen to more. Already checking to see if my library has the next book available.

Title: Empty Wardrobes
Author: Maria Judite de Carvalho
Translator: Margaret Jull Costa
Genre: Fiction, literary

I collect false treasures in empty wardrobes.

This quote by Paul Eluard opens book #14 from the "Women in Translation" rec list, which continues to fatten up my TBR list. This is Empty Wardrobes by Maria Judite de Carvalho, translated from Portuguese by Margaret Jull Costa. This novella, originally published in the 1960s, is about the ways in which women are subsumed by the men in their lives, or otherwise are buffeted about with less control over their lives than they ought to have.

The forward by Kate Zambreno is a wonderfully complementary piece. She talks about the anger she feels going to a woman's funeral and hearing the dead woman sanctified by men in her life who did nothing but take from her, who can speak of her only to praise what she did for others, and can say nothing about what the woman herself was. 

Sometimes you can read a book and just know the author was angry when she wrote it. This is one of those. The book uses the phrase "discreet rage" about one of its characters, and I think that sentiment succinctly describes the whole book. The protagonist, Dora Rosario, is ten years into widowhood, and she has devoted her entire life to mourning her unremarkable husband as much as she had previous devoted her life to supporting his every opinion regardless of whether or not she agreed with it. Now, a decade on, her mother-in-law reveals something about Dora's late husband that changes her entire perspective.

I would like to believe we are moving away from the world portrayed in Empty Wardrobes (though not with as much success as I'd like), but this is a stark reminder of how even a few generations ago, in the Sixties, a woman's identity was so controlled by her husband's. There are only two men in this book--Duarte, Dora's dead husband, and Ernesto, the longtime partner of a side character--and they both, through social structures, exercise incredible control over the lives of the women around them without any respect or even knowledge of their impact.

The three main women in this book--Dora, her daughter Lisa, and the narrator--each take a different approach to the male romantic partners in their lives, and none of them comes out the better for it (well, perhaps for Lisa, but I personally doubt it will last), because the ultimate problem is societal attitudes about the way men and women are meant to relate to each other. 

It's not a long book, and I can't say much more without spoiling things, but I also think it does some fabulous things with its narration and perspective, and the way it doles out information. Really an excellent framing that allows for a lot of fluidity and filling in gaps with your own visions while remaining clear in the nature of the story it's telling. 

This book was only translated into English in 2021, which is a shame, because I think it would have struck a nerve much earlier, but we have it now! Costa does an excellent job with the work too; the writing is full of punchy phrases like the above, and she captures some realistic dialogue--characters repeating themselves, responding in ways that don't quite match up with what was asked, etc.--while keeping it natural-sounding.