Review- Leckie, “Ancillary Justice”

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Ann Leckie, “Ancillary Justice” (2013) – this is some pretty good, straightforward space opera. A renegade spaceship AI, once a servant of a galactic empire, enacts a long-term revenge plot against the empire’s ruler, which sort of happens but in a sufficiently ambiguous way to leave room for a sequel. This was Leckie’s first published novel, and suffers from some hiccups but by and large delivers the goods.

Leckie got caught up in “Puppygate” — a sort of lightweight gamergate sequel within the scifi community — because her book hit the big time when some scifi reactionaries were making a ruckus about contemporary scifi supposedly being too liberal, PC, and dull. This has led “Ancillary Justice” to have a reputation for being out there and cerebral which it doesn’t really deserve. As far as I can tell, the “puppies” hit upon Leckie because she was a woman, a successful new writer, and because her space empire denizens lacked gender and called most everyone “she.” Of course, if they bothered to read past the first 30 pages or so, they would see that this space empire is hardly a genderless utopia but in fact the force the characters were rebelling against. Leckie invents a rank system for the imperial space fleet that is a lot more confusing and gratuitous than the pronouns. The most interesting part was the depiction of the Radchaai empire- notionally meritocratic but also clan-based, polytheistic in a vaguely “eastern” kind of way (lots of meditating and tea), run by the many clones of a sort of quasi-divine emperor. An empire of “she’s,” practicing what sounds a lot like pumpkin-spice-yoga-spirituality and run by people placed via “the Aptitudes” test trained to relentlessly overtake and assimilate other cultures- at a time when people thought Hillary Clinton really was going to define politics for a while, you can see why this may have gotten some neckbeards triggered. ****

Review- Leckie, “Ancillary Justice”

Review- Ferrante, “The Story of the Lost Child”

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Elena Ferrante, “The Story of the Lost Child” (translated from the Italian by Ann Goldstein) (2014) – the end of the Neapolitan novels, what to say! Most of what I said when I reviewed the previous installment holds. Ferrante lives up to the hype. Satisfying endings can be hard without being trite. Ferrante gestures to a few “closure” moments in the book as it depicts Lena and Lila’s twilight years, but maintains her devotion to the clear depiction of life’s complexity, while still wrapping things up definitively. Vague and platitudinous of me, I know, but what can I say?

I don’t know a lot about motherhood or loss, the major themes of this installment. To tell the truth I don’t know a ton about Italy either, but I know a little, and also some about the feeling of historical stalemate that hangs over the book. By the mid-80s, revolution and reform have all gotten their moment, Italy and especially Naples remain the same- violent, corrupt, vulgar. Ferrante depicts this feeling of loss without agreeing with the cynical pooh-poohing of many of the men in Lena’s life (especially Nino, the shit).

The closest thing to a bad thing I can say about the series is that it might make you feel bad you don’t have relationships as involved as the Lenu-Lila relationship (or, for that matter, a good dozen other relationships interwoven throughout the book, all masterfully depicted). But at my more optimistic, I think we do- we just don’t have Elena Ferrante doing the writing. *****

Review- Ferrante, “The Story of the Lost Child”

Review: Jankowski, “Communism and Collaboration”

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Paul Jankowski, “Communism and Collaboration: Simon Sabiani and Politics in Marseilles, 1919-1944” (1989) – French fascism is a funny thing, and arguably the most fecund field of study in terms of sheer gratuitous variety of movements, parties, and tendencies it contained (probably part of the reason they never really got that far before the German occupation). Jankowski examines the career of one of its odder specimens, Marseillaise politician Simon Sabiani, one of the leaders of the Parti Populaire Francaise. Sabiani started out a Communist, though it seems more out of general anti-system feeling in 1919 than out of belief in Marx or anything. More than anything, Sabiani was a machine politician, a dispenser of favors and collector of graft, a well-known type in urban politics and certainly well within Marseilles practice (and Boston- he reminds me a little bit of James Curley, but flightier). He built a base of fellow Corsicans, downwardly mobile petty bourgeois, and criminals. He despised the Popular Front as an electoral threat, and that blossomed into a general turn towards the right, as it did for his eventual notional boss in the PPF, Jacques Doriot. During the war, Sabiani oversaw the wholesale turning over of the PPF in Marseilles to the service of the Germans, though some of them stumbled into borderline-resistance activity (smuggling out Jews, etc), basically due to their long ingrained habit of graft. Jankowski depicts Sabiani as something of a throwback, with a few good instincts (betting on petty bourgeois resentment produces returns, then and now), but incapable of really understanding the forces unleashed by movements like communism and fascism, or by the war. He escaped justice and lived out his life under Peron and Franco’s protection, indulging in barstool fascist oratory to the end of his days.

The book has a certain dissertation-y feel to it, and as such assumes the reader knows more about Marseilles and interwar French politics going in than they might. But Jankowski also packs in a lot of fascinating granular description of how the shabby milieux of poverty, crime, and resentment incorporated itself into the fascist regime at the ground level. You get a better idea of how collaboration functioned — the give and take between prewar structures, the demands of the occupier, the ambitions of collaborators — than you often get. Though one is left wondering what the elite in Marseilles was up to all this time… even if the main interlocutor between the occupiers and the people was Sabiani, the populist, you have to figure it wasn’t all sailors and day-laborers carrying Nazi water. Anyway… good fuel for the Wire-style drama on occupation and resistance that my friend Drew and I fantasize about but will never actually make. ****’

Review: Jankowski, “Communism and Collaboration”