The Milky Way: An Autobiography of our Galaxy, by Moiya McTier

The Milky Way: An Autobiography of our Galaxy, by Moiya McTier (Grand Central Publishing, 244 pages)

In college, I once signed up for an astronomy class. I dropped out after two weeks, having painfully discovered that astronomy isn’t so much about looking at celestial bodies in awe as it is about doing complex math. After that, other than a star-gazing class at a local community college, my knowledge of outer space hasn’t evolved much beyond watching Men in Black, which I maintain is a documentary.

So I was excited about the publication of Moiya McTier’s promised examination of the Milky Way in down-to-earth terms, billed as “an autobiography of our galaxy.” Finally, I could get the astronomy class of my dreams, on my couch, in a mere 244 pages, with an instructor who studied both astronomy and mythology at Harvard and went on to earn a Ph.D. in astrophysics at Columbia.

And I could have, and should have, except for the dumb gimmick that cripples the book: the Milky Way as narrator.

Maybe if this had been a kindly, wise Milky Way, a sort of cosmic Gandalf the Grey, the gimmick would have been easier to stomach. But we are instead given a haughty, snarky, disparaging galaxy, whose persona is made even worse by its perception that it is talking to puny, finite creatures not really worth its time. “I know it’s likely a lot for you to take in, and your brain is fully formed!” the narrator says at one point.

Another time, it says, “Sadly, your ignorance compels me to explain so much to you that I’m still not at the part about me yet.” And then there’s this: “A mayfly can live its entire life in one room of your homes. Isn’t that sad? Don’t you ever wonder why the mayfly even bothers to do anything at all? Because that’s how I feel about you.”

He seems nice, right? Or she. Who knows? This middle-school snark is hard enough to stomach for one chapter; it’s wearisome for the whole of a book. And this persona is so unnecessary; plenty of people write autobiographies without constantly addressing “dear reader.”

The implication of “Dumb reader,” over and again, is even worse.

To be fair, McTier is trying to convey the unconveyable: the vast chasm between small, finite creatures like human beings and the unknowable expanse of space and, if you’re into that sort of thing, a cosmic Intelligence, with a capital I. But Ed Yong did this without talking down to us in An Immense World, and for that matter, there are Twitter accounts that do as much without even using words, like ones that consist of nothing but photos of outer space or microscopic images.

Maybe this is just the kind of unintentional dumbing down that occurs when astrophysicists try to talk to regular people. There aren’t that many of them, after all, and they’ve got their own peculiar brand of humor. As McTier says while trying to explain red dwarf stars, the most common ones in the Milky Way, astronomers don’t all agree on the “initial mass function” of red dwarf stars: “If you ever want to cause an uproar among your astronomers, stand in a crowded planetarium and claim that the Kroupa IMF is better than the Salpeter. Most won’t be able to refrain from loudly asserting their opinion back at you.” Astronomers are clearly the life of the party.

McTier awkwardly hobbles from the Big Bang (“Don’t concern yourself with thoughts of what came before the Big Bang. That kind of knowledge is not for the likes of you — or even me, though I am fabulously worthy on nearly all other counts — to understand”) to the creation and destruction of other galaxies, to black holes, to the modern, mind-boggling telescopes to myths about space, to theories about when and how the world will end. It’s not all terrible, but it’s like eating pistachios with shells; at some point, you question the effort, particularly when she answers the question of extraterrestrial life, “Well, that’s for me to know, and hopefully for you and your scientists to find out.”

What’s most disappointing is that McTier does have a fascinating story to tell: her own.

In a much-too-short foreword written in her voice, McTier throws out a tantalizing morsel of her life story: how a girl who grew up in a cabin with no running water after her parents’ divorce fell in love with the universe and launched herself on an intellectual journey that found her, in her undergraduate studies at Harvard, having an internship that involved spending hours “analyzing five-dimensional data cubes to measure properties of a distant star-forming galaxy.” This from a girl who had to cross state lines to visit a bookstore when she was child.

It speaks to the power of imagination — she used to imagine the sun and the moon were her celestial parents — but also an incredible internal drive and intellect. I would gladly read 500 pages of McTier’s autobiography. But spare me her version of the galaxy’s in half that. D


Book Events

Author events

DONALD YACOVONE will discuss his new book Teaching White Supremacy: America’s Democratic Ordeal and the Forging of Our National Identity on Thursday, Sept. 29, at 7 p.m. at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com).

STEPHEN PULEO visits the Nashua Public Library (2 Court St., 589-4600, nashualibrary.org) on Sunday, Oct. 2, at 2 p.m. to discuss his book Dark Tide: The Great Boston Molasses Flood of 1919. Registration is required.

RENEE PLODZIK, Concord author, visits Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Thursday, Oct. 6, at 6:30 p.m. to present her cookbook Eat Well Move Often Stay Strong.

MARGARET PORTER presents The Myrtle Wand at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Wednesday, Oct. 12, at 6:30 p.m.

JOSH MALERMAN, horror novelist, will be at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) to present his newly released bookDaphne on Thursday, Oct. 13, at 6:30 p.m.

JOHN IRVING The Historic Music Hall Theater (28 Chestnut St., Portsmouth, 436-2400, themusichall.org) will host novelist and Exeter native John Irving to present his newest release, The Last Chairlift, at the Music Hall on Tuesday, Oct. 18. Tickets are $49 and include a book voucher.

LYNN LYONS, psychotherapist and anxiety expert, returns to Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Wednesday, Nov. 16, at 4:30 p.m. with The Anxiety Audit: 7 Sneaky Ways Anxiety Takes Hold and How to Escape Them.

JOSH FUNK & KARI ALLEN Children’s authors Josh Funk and Kari Allen present their newest books, The Great Caper Caper: Lady Pancake & Sir French Toast Book No. 5 and Maddie and Mabel Take the Lead, atGibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Saturday, Nov. 19, at 11 a.m.

Album Reviews 22/09/29

Maraton, Unseen Color (Indie Recordings)

Well, here’s a nice attempt at prog rock by a bunch of Norwegians, whose first album, 2019’s Meta, set the band off in the direction of serious things like festival concerts and all that happy stuff, not that basically every European band doesn’t get to play at those things. On this one, their fifth in three years, believe it or not, the singer is growing into his own as a Seal-soundalike, at least in album opener “In Syzygy,” which is probably indicative of a desired future as some sort of New Age festival staple band, a la Shadowfax and such. Do I mind this stuff? No, to be honest; it’s not Yes or Return To Forever, it’s slightly like Asia, but with a gentler, less in-your-face melodic approach. “Blind Sight” is really ’80s-sounding; they’re probably big into Tangerine Dream, which works for me, given other tacks they could have taken. It’s OK. B+

Kristian Montgomery and the Winter Kill Band, Lower County Outlaw (self-released)

It’s really not hard for me to keep up with eclectic Vermont-based folk-rocker Montgomery, what with the friendship we hatched on social media, but that’s not why this six-song EP gets a high mark. I was drawn to his stuff from the first time I heard it, a couple of records back; it’s fedora-rock but with top-drawer melodic urgency and no filler. I’m sure the ever humble Montgomery would attribute that to the synergy he’s developed with drummer Andrew Koss, but he’s had it in him the whole while, I assure you, and these songs are yet another quantum leap. His trip is a hybrid that melds bluegrass-tinged folk-rock to, well, name an arena band and he’s probably tried it on for size. “Gypsy Girl,” for instance, starts out with an early Yes guitar line, down to the backward-masked reverb effect, and then goes all-out Allman Brothers like a boss. “Easy To Forget You When I’m Gone” has a Chris Whitley angle to it, if that’s your thing; “Annie Pay Your Band” is a swampy Cajun beef-fest whose lyrics are directed at a Massachusetts concert promoter. A+

Playlist

• Friday, Sept. 30, is the next big date for CD releases, and we may as well kick off the anti-festivities with Slipknot’s new album, The End So Far. There are many people who like this pseudo-metal band, but I am not among them. In fact, one of the least enjoyable interviews I ever did was when I talked to their DJ, Sid Wilson, back when he was trying to sell himself as a massively indie jungle/dubstep edgelord. He went by the name DJ Starscream back then and had a sort of MF Doom trip going on, with some stupid metal facemask thing and all that. Anyway he was really annoying when I spoke to him, like he expected me to know all the obscure underground dubstep guys he was referencing, and the whole interview got bogged down with him trying to “OK boomer” me with a barrage of nonsense. The interview was for a show he was doing in Miami if I recall correctly, and the article had to be full of nice words, so as much as I wanted to simply write a bunch of jokes about how contrived and stupid he is, I wrote some nice things I didn’t want to. Karma did win in the end though, folks — Wilson did send me a couple of vinyl singles that I immediately sold on eBay. But that’s all neither here nor there, Wilson is just one cog in the Slipknot “juggernaut,” so let’s leave behind my memories of wanting to bake him in a pie and see how much I can stand of sampler single “The Dying Song (Time To Sing).” Yup, there we go, it’s the same old Slipknot: half the song is death metal lunchmeat and the other half is old-school emo/nu-metal. A lot of people dig this stuff, which I find is the only interesting thing about it.

• Wait, here’s something I can deal with, the new album from Yeah Yeah Yeahs, titled Cool It Down. As you may or may not know, the New York-based post-punk-revival band features South Korean-born American singer Karen O, along with a guitarist and a drummer who looks like he’s 12 years old. Pretty bratty stuff from this band, historically, not as mentally ill as Hole or whatnot, but pretty jagged and always interesting, so hopefully the new single, “Spitting Off the Edge of the World,” which features Perfume Genius. Well, listen to that, it’s a departure from their norm, but a nice departure: slow, melodic, epic shoegaze, with Karen coming off as an asexual moonbat, which she plays rather well. I love stuff like this and hope you do too.

• I’d be a complete loser if I didn’t mention Doggerel, the new album from Pixies, a local band that helped bring about the fall of the Boston rock scene that was actually happening during the 1980s after The Cars got big. Anyone remember that? If it hadn’t been for bad bands like Pixies and all those guys, Boston would have been a pretty happening place, a legitimate mecca of music that would have attracted major-label guys and big producers, which would have resulted in about 30 Led Zeppelins taking over the world from our dumb New England area, but alas, when all the big shots came to Boston from L.A. and New York, they weren’t impressed by Del Fuegos or the Neighborhoods, but they did sign the Pixies. That brings us to now, and the new tune “There’s A Moon On,” a rockabilly-tinged garage song that is decidedly OK, nothing to hate and nothing to be impressed over.

• We’ll close with Nymph, the debut album from British rapper-DJ Shygirl, who cites Aphex Twin and Madonna as influences. That makes no sense, but the kickoff single, “Coochie,” is nice enough, with its bloopy, half-there, Billie Eilish-ish beat, Empire Of The Sun-inspired melody and Shygirl’s pretty soprano. My stars, the record company’s bots have gone nuts posting comments on the video. Whatever it takes, I suppose.

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

At the Sofaplex 22/09/22

Beast (R)

Idris Elba, Sharlto Copely.

Idris Elba fights a lion in this most “exactly as advertised” thriller. Sure, everybody gets a bit of backstory: Elba plays a father of two daughters (Iyana Halley, Norah Samuels), the older of whom is nearly levitating with rage at him for separating from their mother right before the mom got sick and later died of cancer. Copely is a guy in charge of a South African nature reserve who has maybe tangled with poachers. And the lion they eventually fight has the backstory of watching poachers kill his pride and then going all John Wick, lion-style. But all that is very secondary to “Elba v. Lion,” which is why we’re all here.

And on this score the movie delivers. It is fine, maybe even good if probably not great. Elba is exactly what you expect him to be — the movie doesn’t make him superhuman but does make him an Elba-amount of strong and increasingly capable at fending off the angry lion. It offers you exactly the action and suspense you expect and doesn’t get bogged down by trying to do anything more. B Available for rent or purchase via VOD.

Pinocchio (PG)

Tom Hanks, Cynthia Erivo.

The already disturbing story of Pinocchio does not get cuter in this shiny plasticine live-action adaptation of the 1940 Disney cartoon. Here, Hanks (presumably involved because of director Robert Zemeckis? Or is this a “sea witch gives you legs but at a price” situation?) is Geppetto, a sad widower made even sadder by thoughts of his young son who has also died. He makes a large-ish puppet, wishes on Cynthia Erivo (a blue star/Blue Fairy) and wakes to find that the puppet is now sorta alive (with a voice by child actor Benjamin Evan Ainsworth) but his new “son” is still wooden. Jiminy Cricket (voice of Joseph Gordon-Levitt), a cricket and the movie’s narrator with meta tendencies, is tasked with serving as Pinocchio’s conscience, which is a tough job when a kid knows nothing about the world, is chucked out the door to go to school and is immediately preyed upon by a con artist fox (Keegan-Michael Key) who sells Pinocchio to a traveling puppet show producer.

This movie sort of pokes fun at some of the crazier aspects of the story and gives us some of the songs — “I’ve Got No Strings” etc. — but that’s just not enough to make your olden-days cautionary tale to kids about the untrustworthy world entertaining or charming or funny. It’s weird — its strange spread of accents is weird, its general joylessness is weird and its ending is so weirdly abrupt I rewound to make sure I didn’t miss something. C- Available on Disney+

Luck (G)

Voices of Eva Noblezada, Simon Pegg.

In this animated movie, 18-year-old Sam (voice of Noblezada) ages out of the foster care system and has to make her own way — working a job at a gardening store, taking online classes, navigating her new apartment. But she’s worried about something that has always plagued her: bad luck. How bad? She accidentally locks herself in her bathroom, drops her toast jelly side down and gets a flat tire, all on her first day of work. But then she meets Bob (voice of Pegg), a black cat. Bob is an employee in the Land of Luck and he accidentally drops his lucky penny right next to Sam. She picks it up, planning to give it to Hazel (voice of Adelynn Spoon), a young girl she bonded with at the group home who yearns for a forever home just like Sam once did. While holding the coin (and absorbing its luck) she experiences how the other half lives, with computer uploads that work and streetlights that are always green.

When Sam accidentally flushes the lucky penny, she tracks down Bob to get Hazel a new one. She follows him to the Land of Luck to score herself another penny, and Sam and Bob reluctantly work together to try to get the coin but find themselves upsetting the delicate balance of good and bad luck.

This movie is light and generally sweet and has a lot of cuteness in the form of cats, leprechauns, a colorful dragon and adorable hazmat bunnies. It also has a fair amount of talking and while my elementary school kids basically stuck with the movie I could tell that their attention waned a bit in the middle as the movie gets bogged down in a bunch of tasks for its characters to complete. A richly textured Pixar movie this ain’t but it was acceptable for family movie-night entertainment. B- Available on Apple TV+.

Me Time (R)

Kevin Hart, Mark Wahlberg.

“Regular person in crazy situations” is the formula for this buddy movie about a stay-at-home dad who gets a week by himself. Sonny’s (Hart) wife Maya (Regina Hall) urges him to chillax at home while she takes the kids to her parents for spring break. Maybe he’ll even attend the multi-day 44th birthday party of his longtime friend Huck (Wahlberg; sure, ha, “44”), who he hasn’t seen for a while due to Huck’s “woo-hoo, Burning Man!” lifestyle while Sonny is more focused on PTA meetings and family schedules. Huck drags a bus full of his weirdly young friends out to the desert for their own off-the-grid music-festy experience full of alleged fun that just sounds like a parade of horrors (Forage for food! Sleep in this yurt! Poop in this bucket!). But this overplanned, underplumbed event is only the start to the craziness Sonny encounters now that he has taken a step into Huck’s world.

Look, I’m not, like, mad that this movie exists. It’s not terrible. Kevin Hart is in movies like this for a reason; he is skilled at being the comedy straight man who can also go a little zany. And there are nice touches — the big friend-relationship step of learning the name of a fellow parent previously only known as “Kid’sname’s Dad.” But there aren’t as many truly askew moments as you’d want to really sell the “wild ride”-ness of this movie. C+ Available on Netflix.

Easter Sunday (PG-13)

Jo Koy, Lydia Gaston.

Comedian Jo Koy plays a version of himself called Jo Valencia who is a comedian with a big Filipino-American family, a sullen teenage son called Junior (Brandon Wardell) and a shot at landing the lead in a sitcom pilot. Jo is having a hard time balancing co-parenting Junior with giving his all at his audition, where they knock him off balance by asking him to give his character a Filipino accent. He’s wrestling with this angle to the job opportunity and trying to help Junior figure out his teenage life when his mom, Susan (Gaston), asks him to travel from the L.A. area up to the Bay Area for Easter. It’s a whole to-do — church, a big meal, family drama — and Jo decides to go and drag Junior along. Family and work become even harder to balance as Jo tries to make a surprise second audition a five-hour drive away and deal with family nuttiness that includes a half-baked gangster and a stolen pair of Manny Pacquioa’s gloves.

Easter Sunday has a lot of good ideas but it still has some very rough draft-y qualities, like an impromptu comedy set Jo Valencia does at his church and some of the sillier gangster stuff. There is a subplot about Junior’s not quite fitting in with the wider community of his Filipino-American family that makes for some good “first- and second-generation American kids in an immigrant family” stuff, but it is never quite as fully realized — more a pitch for a thing that could be a part of Jo Valencia’s story than something the movie fully examines.

And ultimately, I hope that’s what Easter Sunday turns out to be — a starting point for a stronger, more fully filled in story that Jo Koy gets to tell in some future vehicle. C+ Available on VOD.

The Book Eaters, by Sunyi Dean

The Book Eaters, by Sunyi Dean (Tor, 298 pages)

Does the world really need another story about mythical un-human creatures who hide in plain sight among us and need to destroy human beings in order to eat?

Why, yes, as it turns out, we do.

Despite its vague resemblance to Twilight, The Walking Dead and others in popular humans-as-foodstuff genre, Sunyi Dean has penned a marvelous, mind-bending novel about a class of creatures deposited on Earth as a science experiment of sorts. The majority of them don’t eat people, but instead eat books. Yes, that sounds ridiculous and would be garbage in the wrong hands, but Dean — an autistic American-born writer of fantasy novels who now lives in the U.K. — brings a sly wit to the enterprise and has produced a sophisticated fantasy world that will doubtless beget movies and sequels.

The story revolves around Devon, a young mother who is part of six family lines that hide among humans on Earth, their purpose being to absorb human knowledge through eating books and, for some of them, through consumption of human brains. You can’t tell them apart by looking at them; they all look like humans, but book eaters grow “bookteeth” at about age 3, and mind eaters have a mosquito-like proboscis and a serpent-like tongue.

Devon is a book eater. Her 5-year-old son, Cai, is not. And Devon has the choice of watching him starve to death, or bringing home some hapless human whose brain is suitable for consumption about once a month.

This is not a good way of living for either Devon or her son, so she is intent on finding a class of book eaters who possess an elixir called Redemption that can turn brain eaters into book eaters. (It’s not just a question of will, as it was for the Cullens in Twilight.) But there is more to her story than that.

Despite being fed a carefully planned diet of fairy tales as a child, designed to suppress her imagination and keep her from questioning the Family Rules, Devon grew up with a rebellious streak and would sometimes sneak a book she wasn’t supposed to consume. She would even do something that was forbidden — read the book. (Book eaters cannot write, and they are only supposed to consume books, not read them.)

Devon had a happy childhood, however, despite never knowing her mother. Among book eaters, women are precious and rare because of a genetic flaw that causes ovarian failure in their late 20s. Their marriages are both arranged and “enforced” — because of the dangers of inbreeding, the patriarchs of the families must place brides like chess pieces, and so at age 19, Devon had been sent to another family for the requisite term of three years to be a wife and bear a child, after which she is to return to her family of origin.

Book eaters, who drink “inktea” and large amounts of alcohol, are big on ceremony, and the lavish weddings give Dean’s fertile imagination room to run wild: The bountiful spread of food includes a “salad” — “shredded pages of Midsummer Night’s Dream that were dyed different shades of green” along with edible origami made of pages torn from books and made into the shape of swans, and a wedding “cake” in the shape of the biblical Tree of Knowledge, “printed pages carefully shaped into origami apples.” When Devon tastes wine for the first time, she reflects that it tastes a little bit like “a well-crafted romance novel. Complex, sweet, and a little stinging.”

The wedding cake is a metaphor for what is to come: Devon’s knowledge expands first with the consummation of her marriage and then with the birth of her first child. With that birth comes the first of several surprises that alter our perception of what is happening. The shrewd plotting switches constantly from present-day to the past but is easy to follow and reveals Devon’s back story and motivation in slow motion.

Another smart literary device is in the telling of the book eaters’ history in snippets of quotes from a book called Paper and Flesh: A Secret History, written by an unfortunate reporter who tried to infiltrate Devon’s family and paid a price for his interest.

To preserve their secrets, the families must keep distant from humans, whom they largely disdain. But Devon must navigate the human world — and learn the secrets of the other five book eater families — in order to get Redemption for her son, who, as he grows older, will need to eat not just once a month, but once a week.

Like baklava, The Book Eaters has complexity in its many layers: as a jacket blurb says, “Truth is found between the stories we’re fed and the stories we hunger for,” and readers can chew for days on the points the author is trying to make. But at the center of her sharp criticism of patriarchy and the cage of tradition and extended family, is a rollicking good story. Twilight had one, too, but the series was poorly written. The Book Eaters, in contrast,is sophisticated, thought-provoking and as immersive as a quality video game, whether or not you’re a fan of the fantasy genre.

And readers will become conversant with a wonderful, rarely used word: bibliosmia, which means the enjoyment derived from sniffing a good book. A+


Book Events

Author events

DAMIEN KANE RIGDEN will be at the Toadstool in Nashua on Saturday, Sept. 24, at 11 a.m. for his novella All Manor of Beast and Man.

SUSIE SPIKOL, a naturalist at the Harris Center for Conservation Education in Hancock, will come to Gibson’s Bookstore (45 S. Main St. in Concord; gibsonsbookstore.com, 224-0562) to “teach your kiddos how to find critters in their neighborhood” on Saturday, Sept. 24, at 11 a.m. with her book The Animal Adventurer’s Guide: How to Prowl for an Owl, Make Snail Slime, and Catch a Frog Bare-Handed, according to a press release. The book, which is slated for release Sept. 13, features “50 hands-on activities and adventures that bring you closer to wild animals than you’ve ever been,” the release said. Spikol will also bring supplies to do one of the crafts from the book.

BETSY THOMASON will discuss her book Just Breathe Out: Using Your Breath to Create a New, Healthier You at the Toadstool Bookshop in Peterborough (12 Depot Square; toadbooks.com, 924-3543) on Saturday, Sept. 24, at 2 p.m.

HUMA ABEDIN The Historic Music Hall Theater (28 Chestnut St., Portsmouth, 436-2400, themusichall.org) will host Huma Abedin, longtime political advisor and aide for Hillary Clinton, to discuss her bookBoth/Andat the Music Hall on Tuesday, Sept. 27, at 7 p.m.Tickets are $15 and include a book voucher.

DONALD YACOVONE will discuss his new book Teaching White Supremacy: America’s Democratic Ordeal and the Forging of Our National Identity on Thursday, Sept. 29, at 7 p.m. at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com).

History & lectures

FRAN LEBOWITZ Author, humorist and social commentator Fran Lebowitz will appear at the Capitol Center for the Arts (44 S. Main St., Concord) on Friday, Sept. 30, at 8 p.m. Tickets range from $45 to $65, plus fees.

Poetry

KATHARINE GREGG & HOWARD FAERSTEIN will read from their collections of poetry (Mere Thread by Gregg and Googootz and Other Poems and Dreaming of the Rain in Brooklyn from Faerstein) at the Toadstool Bookshop in Peterborough (12 Depot Square; toadbooks.com, 924-3543) on Saturday, Sept. 24, at noon.

MARTHA COLLINS and L.R. BERGER hosted by the Poetry Society of NH at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Wednesday, Nov. 16, from 4:30 to 6 p.m.

Album Reviews 22/09/22

Franklin Gothic, Into The Light (Very Jazzed & Pleasure Tapes)

Nothing I hate more than committing to writing up a new release and there’s literally nothing about them to be found through a basic Google search. After 10 minutes of backbreaking effort, all I really know about this one is that the principal — Jay DiBartolo of Portland, Oregon — has taken the name of a computer font as his stage name, and that he’s a really interesting songwriter. His stuff is out there but eminently accessible, in the eclectically hip manner of guys like Luke Temple and Winston Giles (I know, you’ve never heard of them, just trust me on this) but with a more mellow bent. DiBartolo stated that this 12-song EP’s mission was to mold something that was so genre-mixed as to be original, and I’d say he’s in the ballpark; opening tune “Beneath” is like a cross between Byrds and Zero 7, and that’s just for starters. Love this kind of stuff. A

Whitney, Spark (Secretly Canadian Tapes)

Fourth full-length from this Chicago band, although they’d describe it more as a debut of sorts, a departure from their first three. Vibe-wise that claim does pass the smell test; they were eminently more hip-hop/aughts-indie infused in their last LP Candid, which was often like a cross between Jamie Lidell, MGMT and Grizzly Bear. But their new thing is applying their samples and (spoiler alert) falsetto voices to things that speak more to an afterparty thing. That ties in with the environs in which these tunes were slapped together: (very) late-night recording sessions in a rented Portland, Oregon, bungalow, which appears to have dredged up a certain melancholy resident with all humans; what I’m saying is that there’s a bizarre but very tuneful trace element of Elton John’s Captain Fantastic to be heard if you pay close attention, a subdued, desperate, lonely-but-dealing-with it angle on tap here. The overall sound is a bit contrived, sure, but this is no Jr Jr wannabe, not at all. A+

Playlist

• As is tradition, Friday, Sept. 23, is the next date for CD releases, and guess what, gang, this week I get to riff on that TV show Stranger Things, because the first album on the docket is Maya Hawke’s second album, MOSS! Hawke is, of course, the daughter of actress Uma Thurman and actor Ethan Hawke, so we know that her path to stardom was a tough row to hoe, probably involving waiting tables at IHOP for six shifts straight, you people just don’t know what it’s like! On the show, she plays the chick who dresses up like Popeye the Sailor for whatever kinky reason. I’m trying to remember anything she did in the show other than annoy her coworker, she’s that great of an actress, but then again, to me, that show is just a big fat fricassee of random 1980s cultural tropes with an unfollowable storyline about — you know, I don’t honestly know what it’s about, even though I’ve seen the whole series twice already. Whatever, it’s about ecto-monsters from another dimension or some idiotic thing, and the biggest headline that it ever inspired was “Wow Look It’s That Kate Bush Song On A TV Show,” which just made me and all the other incorrigible grumps say, “Who cares.” Will the 80s craze ever fizzle out? and yes, it’s news to me that she did an album before this, but yes, she did, in 2020, an LP called Blush, a set of country and folk songs that received a 6.8 rating from our friends at Pitchfork. I haven’t the motivation to go listen to any of that, but as far as the MOSS album, there’s a single, “Sweet Tooth,” a half-there twee-quirk-pop trifle that’s pretty and catchy enough if not very tuneful or adventurous, but seriously, gang, you have to hand it to this hilariously privileged wombat-pop wannabe for hanging tough in the face of all her obstacles. Warms my heart.

• And moving on, let’s see, blah blah blah, etc., here’s a band called The Comet Is Coming, with an album titled Hyper-Dimensional Expansion Beam. I’ll assume since I’m completely unfamiliar that this is going to be a Flaming Lips trip or a Kaiser Chiefs clone, and either way I’ll hate every note their instruments and voices produce, let’s go see what this nonsense does to my sensitive stomach. Nope, they’re a nu-jazz band from London, England, and, just like every other techie-ish band, they have pseudonyms like “King Shabaka” and “Danalogue” because their real names — “Dan,” “Max” and something else — won’t get people to buy their albums, and — oh, let’s just get it over with; the teaser track is “Code” (see how techie they are, folks?), a stompy, big-beat thing with a lot of skronky saxophone. It’d make great background music for a YouTube of someone getting chased around by a moose in real life, Benny Hill-style, let’s keep moving.

Makaya McCraven is a jazz drummer from France, and the big news here is that I almost never see actual jazz albums in my corporate “You need to talk about this” list. This dude’s new album, In These Times, includes a number called “Dream Another,” an unbelievably boring, mid-tempo song that makes me think of Ben Kweller but with no singing. The video uses an animation technique in which images are composed and laser etched on stone and played through a zoopraxiscope, not that anyone will know what that means other than that it looks kind of dumb.

• We’ll end the week with Oakland-based singer The Soft Moon and his sixth LP, Exister, whose tire-kicker single “Become The Lies” is like 1980s Duran Duran but with some Depeche Mode goth going on. It’s OK.

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

Nona the Ninth, by Tamsyn Muir

Nona the Ninth, by Tamsyn Muir (Tordotcom, 480 pages)

When I first opened Gideon the Ninth, the first of Tamsyn Muir’s “Locked Tomb” series, all I knew was that the book was queer and in a science-fiction fantasy universe, and that was all I needed to soothe my lonely gay heart. And it had cool cover art. So I gave the book a shot.

And I was turned feral. I devoured Gideon the Ninth, then immediately stormed my local bookstore for the sequel, Harrow the Ninth. And after Harrow, I reread Gideon immediately. Then Harrow, again. Reader, you may not know me, but I assure you: This is unusual.

I delight in the writing; Muir selects delicious adjectives that had me re-reading sentences just to taste them again. The protagonists are lovable, equal parts endearing and heartbreaking, and the villains are conniving and charming. The unique genre is refreshing, a mix of dystopia, science fiction, fantasy and squicky horror. I am obsessed with the plot: characters navigating intense relationships within an epic adventure, reminiscent of the multimedia webcomic Homestuck (indeed, fans can find nods to it). The characters’ central struggles are captivating, including acceptance of duty, acceptance of grief, and acceptance that God is actually some guy named John who’s a bit of a jerk. And this is all in a universe that’s unapologetically gay. I think I’ve been transformed.

Now we’re at the third in the series, Nona the Ninth (and last will come Alecto the Ninth, planned for release in 2023). I paced myself through the nearly 500-page novel to try to savor it; I know there will be another long wait before Alecto comes around.

The central question here is: Who the heck is Nona? She’s a brand-new character. We know she’s a soul who has been hitching a ride in another person’s borrowed body for the past six months. She’s guileless, devastatingly cute, hilariously entitled, desperate for attention, and has an intractable case of pica. And she has no idea who she is. I was sucked into every thing Nona did, or said, or thought, trying to suss out who she might be. She is immediately endearing. She is brave and sweet and incredibly concerned for her friends. It was a joy to read about her. The tagline on the cover is true: “You will love Nona, and Nova loves you.”

At the same time that I was getting to know Nona, I was desperate to find out where my favorite protagonists’ souls (or bodies, or both) had ended up. In a similar structure to the last two books, revelations on their whereabouts and other mysteries are tantalizingly interspersed throughout the whole novel, providing rich reward for each chapter. Peppered in are moments of action, which are vibrant in their immediacy and urgency. The novel culminates in an explosive, breathtaking finale that will have you scrambling for the next installment, or to re-read the previous novel with fresh context.

I celebrated some of the reveals in Nona, while others were awful. I asked myself, “Is it possible to wail in delight and horror at the same time? This is probably not what they mean by ‘laughing until you cry.’” But Muir is aware of this emotional weight, and skillfully alternates between sweet tenderness, chilling doom, and irreverent humor.

There are intractable mysteries remaining, though: What do the pictographs at the start of each chapter represent? What clues can be found in the various bible passages that are quoted? Which memes went completely over my head? You can enjoy these novels with a surficial read, but even more can be extracted between the lines. It’s the perfect kind of book to discuss with your friends, whether by sharing your favorite lines or brainstorming the latest fan theories.

Readers used to heavy worldbuilding in science-fiction fantasy a la Brandon Sanderson may be thrown off by the sparsely described setting of this installment, the city (or planet?), which we eventually learn is New Rho. Only what we need to know is supplied. But this brevity does not bring down the story. The true focus in The Locked Tomb are the characters and their relationships. And indeed, Muir plies her trade to good effect. Nona the Ninth made me laugh out loud, cry, seethe with both cheer and horror, and put my heart through a meat grinder. To this I ask: more, please.

For much of Nona, I felt bittersweet pangs for my favorite characters. I wonder: What kind of ending will befall them in Alecto? Will they ever be at peace? At this point, it’s hard to see the light at the end of the tunnel, but I have trust that Muir will take them, and us, home. As many have already said: I’ve never read anything like Nona the Ninth. And I fear that when The Locked Tomb series is over, I’ll never read anything like it again. A+

— Alaina Tocci


Book Events

Author events

YANA TALLON-HICK, therapist, writer and educator, will be at Bookery Manchester (844 Elm St., Manchester, 836-6600, bookerymht.com) to discuss her book Hot and Unbotheredon Friday, Sept. 16, at 7 p.m.

SUSIE SPIKOL, a naturalist at the Harris Center for Conservation Education in Hancock, will discuss her book The Animal Adventurer’s Guide: How to Prowl for an Owl, Make Snail Slime, and Catch a Frog Bare-Handed, on Saturday, Sept. 17, at 11 a.m. at Toadstool Bookshop (12 Depot Square in Peterborough; toadbooks.com, 924-3543).

JOSEPH D. STEINFIELD presents Time for Everything: My Curious Life at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Tuesday, Sept. 20, at 6:30 p.m.

BOB BUDERI author of Where Futures Converge: Kendall Square and the Making of a Global Innovation Hub will beat the Bookery (844 Elm St., Manchester, 836-6600) on Wednesday, Sept. 21, at 5:30 p.m. for a discussion with special guests C.A. Webb and Liz Hitchcock. Free admission; register at bookerymht.com.

NINA TOTENBERG The Historic Music Hall Theater (28 Chestnut St., Portsmouth, 436-2400, themusichall.org) will host NPR legal affairs correspondent Nina Totenberg on Wednesday, Sept. 21, at 7 p.m. to present her newly released memoir Dinners With Ruth, which chronicles her lifelong friendship and conversations with the late Supreme Court Justice Ruth Bader Ginsburg. Tickets are $43 and include a book voucher.

SUSIE SPIKOL, a naturalist at the Harris Center for Conservation Education in Hancock, will come to Gibson’s Bookstore (45 S. Main St. in Concord; gibsonsbookstore.com, 224-0562) to “teach your kiddos how to find critters in their neighborhood” on Saturday, Sept. 24, at 11 a.m. with her book The Animal Adventurer’s Guide: How to Prowl for an Owl, Make Snail Slime, and Catch a Frog Bare-Handed, according to a press release. The book, which is slated for release Sept. 13, features “50 hands-on activities and adventures that bring you closer to wild animals than you’ve ever been,” the release said. Spikol will also bring supplies to do one of the crafts from the book.

HUMA ABEDIN The Historic Music Hall Theater (28 Chestnut St., Portsmouth, 436-2400, themusichall.org) will host Huma Abedin, longtime political advisor and aide for Hillary Clinton, to discuss her bookBoth/Andat the Music Hall on Tuesday, Sept. 27, at 7 p.m.Tickets are $15 and include a book voucher.

DONALD YACOVONE will discuss his new book Teaching White Supremacy: America’s Democratic Ordeal and the Forging of Our National Identity on Thursday, Sept. 29, at 7 p.m. at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com).

STEPHEN PULEO visits the Nashua Public Library (2 Court St., 589-4600, nashualibrary.org) on Sunday, Oct. 2, at 2 p.m. to discuss his book Dark Tide: The Great Boston Molasses Flood of 1919. Registration is required.

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