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Body, Books, Beauty: The Membranes by Chi Ta-Wei
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Penfield R. Henderson, dog-walker with a trust fund and closeted-celebrity-fucker, has problems: a bitter parasocial obsession with transmasculine influencer Aiden Chase, a cramped dirty apartment in Bushwick he shares with the Witch and the Stoner-Hacker, and a deep-seated sense of inadequacy about his own awkward transition to manhood. After a bad run-in with Aiden, Penfield decides to cast a hex on him to send him back to the Shadowlands (the desaturated and miserable portion of transition where it all sucks endlessly) as punishment for his perceived perfection. But, unfortunately, the hex hits an unintended target: Blithe, a total stranger. The Rhiz, a benevolent web of queer elders, pairs Aiden and Penfield to caretake Blithe and pass on their trans wisdom to him in his time of need.
In
Mister Impossible, the second book of Maggie Stiefvater’s Dreamer Trilogy, Ronan Lynch hits the road with his mentor Bryde and the forger-dreamer Jordan Hennessy. They’re on a quest to restore the leyline energies that have been guttering, killing dreamers and putting their creations to sleep. But problems compound along the way: the Moderators aren’t giving up on their trail, Adam and Declan and Jordan are out of contact with their partners-siblings-dreamers, and all great power comes with consequences. Who’s to say that Ronan’s going in the right direction and whether Bryde is someone he should be trusting after all?
The first of two collections of Izumi Suzuki’s (1949-1986) work forthcoming from Verso Books,
Terminal Boredom: Stories contains seven pieces appearing for the first time in English translation in some cases more than forty years after their original release. However, from gender politics in a queer matriarchy to media oversaturation and disaffection, the themes of her fiction still thrum with a resistant, brightly grim tension. Passing decades certainly haven’t dulled the the razor’s cut of her punk sensibilities.
Instead of one translator handling the entire collection, the stories are split between six: Daniel Joseph, David Boyd, Sam Bett, Helen O’Horan, Aiko Masubuchi, and Polly Barton. Across their individual stylistic approaches to Suzuki’s prose, bedrock features come through: crispness edging toward a cruel gloss in the dialogue, emotional saturation (or desaturation) as both literal experience and speculative metaphor, references to American films and Jazz music
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