The Republic For Which It Stands – Richard White
Intimidatingly subtitled ‘The United States During Reconstruction and the Gilded Age, 1865-1896’, I wouldn’t have picked up this thicc tome but Matt Christman made it sound interesting.
Turns out the period is quite interesting. White’s perspective raises similarities and challenges to our current time, and not just for the US. A core point is the failure of liberalism to meet its promise of egalitarianism and opportunity in a society of independent producers, as the realities of industrial capitalism and wage labour held sway – a story we’re still living in.
Liberals had believed that laissez-faire, contract freedom, and competition would eliminate corruption, sustain independent production, and prevent the rise of the very rich and very poor. Contract freedom quickly revealed itself as a delusion when those negotiating contracts were so incommensurate in wealth and power.
Liberalism had been forged in opposition to a world of slavery, established religion, monarchy, and aristocracy, and the victory of liberals in that contest sealed their own doom.
White’s account is at its most interesting when he’s uncovering sweeping ideological/cultural narratives – the role of ‘home’, the courage and fate of natives in western expansion, the significant struggles of race and gender – and their connection to dramatic industrial unrest. The importance White places on the environmental crisis in growing industrial cities, and its close connection to all his other threads, is insightful.
Surprising and amusing anecdotes pepper the story, with recurring figures like William Dean Howells, Frances Willard, Frederick Douglass, etc, highlighting shifts over the years. I also liked his references to contemporary fiction – the way he views The Wizard of Oz in light of the period’s themes is brilliant.
Some of the denser financial and legislative wrangling had me flagging a little. White couldn’t have done much about that without taking from his impressive scholarship, but I still think certain segments could use a touch more condensing. It’s difficult to remember the details of bills and financial intricacies as well as White himself, and he sometimes refers back to a figure where a brief reminder of who they are would be helpful.
The Sword of Destiny – Andrzej Sapkowski trans. David French
The first set of stories were enjoyable, this second set a step higher in quality. Geralt’s character is stronger and more consistent: mercenary but sensitive, conflicted, a relatable mess. The frame narrative is gone, with the stories themselves having a loose chronology. While I’m unqualified to really comment on translation, there weren’t any points, as were occasionally in the first book, where I was uncertain about it.
Yennefer plays a larger role, and seeing some of that terrible dynamic the pair have – yikes. There are points where she flips instantly from brittle rage to ‘I am smol bean uwu Geralt pwease’ that don’t feel real to me, but I’m interested in where this train wreck goes. Other new/returning characters I also want to see more of. No idea why anyone tolerates Dandelion’s crap, frankly. Rapey, loudmouth, parasitic prick. Hope Yennefer immolates him at some point lol.
Which brings me to the main things that pull me out a bit: Geralt continually running into some of the same people while riding all over the place, and some anachronistic-feeling language. Cellular memory? Really? And I found the combat scenes less crisply portrayed than the first book for some reason – they’re fine, but I didn’t get the same clear sense of motion.
Yeah, looking forward to the novels.
Special mention: Disco Elysium – ZA/UM
A game, not a book, but it’s a text-heavy experience (with stellar voice acting) and one that beats a lot of books. In this detective RPG you explore the city of Revachol 50 years after a defeated revolution, investigating the murder of a man hanged behind the hostel you’re staying in. The case itself is engaging, but it’s the other things that truly sell this.
Your partner on the case, Kim Kitsuragi, is a fantastic character. Straightman to your amnesiac drunkard (who, depending on your build and choices, could be trying to pull himself together, ranting about a coming apocalypse, doing speed…), Kim’s personality shines in small gestures and things you can uncover in the extensive, well-crafted dialogue.
Your character’s skills embody different components of your psyche, talking to you and each other with unique voices and perspectives. They can be a major help or – particularly when failing a skillcheck, which can have hilarious results – massive hindrances. ‘Encyclopedia’ gives you helpful information, but if it’s too high you risk boring people and getting sidetracked by trivia. ‘Electrochemistry’ helps you understand the seedier side of Revachol – e.g. discerning what drug a character is on – but also yells at you to lick a rum stain. If you regularly take certain options in dialogue, or encounter certain prompts, you can be invited to ‘internalise’ a thought in your ‘thought cabinet’, further shaping your character and the things you can say and do.
The worldbuilding is great – from the geopolitical situation of Revachol, in the hands of the Coalition which defeated the Revachol Commune; to the more out-there things like Innocences and the Pale. The lead dev wrote a book set in this world which I hope gets into English eventually, because Elysium has cool ideas.
I’ve seen people complain that it’s communist propaganda. I really don’t see it. While I lean hard to port politically myself, I wouldn’t enjoy propaganda just from agreement. People who say this either missed a lot of dialogue, missed the jokes, or are triggered by left-wing views getting airtime. Internalising ‘Mazovian socio-economics’ lowers your authority score. A communist character you can meet talks movingly about how the Coalition forces blitzed all his friends in the name of capital, but he’s also a bitter tankie who thinks everything is bourgeois and everyone is a ‘pederast’. Disco Elysium treats itself and its left politics with a wry touch.
Funny, smart, emotive – my only real complaint is some quests need alternate routes. Great game, especially if you like reading stuff.