Note: This is a list of all novels which fit the criteria described below. It does not express opinions on the quality, authenticity, or positivity of the portrayals of the characters in the books. Please use your own judgment in deciding which books you wish to read or buy.

I have not read all these books! Commentary on the ones I have read reflects my opinions on the books as literature. Title links go to Amazon, and some descriptions were taken from Amazon.

These were the criteria used to compile the list: 1) The book must be science fiction or fantasy or otherwise not realism, and must have been published, either originally in reprint, as YA (Vanyel was never published as YA), 2) It must contain at least one major LGBTQ character who is clearly identified as such within the book itself. (Dumbledore is not; neither are Tom and Carl), 3) Major is defined as having a POV and/or a storyline of their own and/or lots of page-time. 4) In most cases, it must be published by a mainstream or small-press publisher in the USA.

Books in which the protagonist is LGBTQ are marked with a star.

I made this list because less than one percent of all YA novels published in the USA within the last ten years have any LGBTQ characters at all, even minor supporting ones. Of those few novels, most are mainstream literature, not sf or fantasy.

I have not specified the authors' sexual orientation or gender identity. This list is about characters rather than authors, and I don't know how all the authors identify.

( Check out the list! )

Spoilery for the entire series - seriously. And you really don't want to get spoiled for this if there's any chance whatsoever that you might read it.

I remembered something about book six (The Broken Fortress) and re-read it, and...

...how the hell did Hale do that? I don't think I've ever come across this particular use of foreshadowing before, or at least not the way she did it.

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These volumes provide all sorts of climactic, dramatic, startling action, and then a surprisingly relaxed and even sweet and sometimes funny interlude... with DOOM hanging over it.

I like how, especially in these two volumes, people generally behave reasonably and listen when people say they have something important to tell them, and sometimes change their minds when presented with new evidence. There are definitely jerks, bad people, and people being ruthless, self-destructive, and cruel. But there's very little totally random assholery.

I have read way too many recent fantasy novels in which people behave completely irrationally to serve the plot and ensure that the obvious course of action taken by the protagonists won't work. ("Screw your evidence proving that you're not the person who killed my wife and someone else is! I tear it up and drink it like a milkshake, HA HA HA!") I appreciate how Hale often has the logical course of action work, but then new obstacles or unanticipated complications arise.

Everything else is completely and utterly spoilery.

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Enemies and Shadows (The Rifter)

The Silent City (The Rifter)

I finally figured out what this series reminds me of: P. C. Hodgell's Godstalk series. Hodgell has more black comedy and flamboyant worldbuilding, and Hale concentrates much more on weaving a highly intricate story. But both series seem to have evolved from the same roots: bypassing Tolkien's high fantasy tradition in favor of the swords and sorcery of Fritz Lieber, Jack Vance, C. L. Moore, even Robert E. Howard.

It's interesting that while the overall plots and details of the two series have very few points of similarity - the kinship is more one of tone and atmosphere - both have heroes who are avatars of the destructive aspect of a God.

Beyond that, all I can say without spoilers is that this series just gets better and better as it goes along. Book five was particularly packed with holy shit! moments.

Marie, if you're reading this, you would appreciate that the only characters who do stupid things based on sexual desire are reckless, desperate teenagers. The adults generally manage to sensibly resist doing stupid things out of sexual desire, despite extreme temptation. (Homosexuality is banned in large parts of this world.)

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The Holy Road (The Rifter)

Broken Fortress (The Rifter)

In the killer hook opening to this portal fantasy, John, a gay graduate student, has a problem. He and his mysterious roommate Kyle ran into each other in a bathhouse, and fled in opposite directions. Several weeks later, Kyle still hasn't returned, and the rent is coming up. And while Kyle is extremely strange - he's covered with weird tattoos, carries around swords and knives, always keeps his room locked, and, bizarrely, claims to be a milkman - he has never failed to pay the rent on time, which makes up for all other flaws as far as John is concerned.

While John is trying to figure out what to do, a letter arrives addressed to Kyle - the first Kyle has ever received - with no return address. In a mixture of desperation and pent-up curiosity, John opens it. It contains an ornate gold key, and a sheet of paper reading, "DON'T."

Cut to Kahlil (aka Kyle), who is on a mysterious errand in his own world, carrying a bag containing a talking skeleton and gloomily musing that once he gets back to our world, he will probably get the order to kill John at any moment. When he returns to our world (just in time to pay the rent), we see it through his eyes. Everything is shockingly vibrant, intense, and beautiful... compared to where he's from.

This is one of the most engrossing and fun otherworld fantasies I've read in a while. The worldbuilding is fascinating. Kahlil's world is suffused with a sense of wrongness, but not in the grimdark way where everyone is a rapist sociopath and nobody ever has any fun. It's meticulously detailed - there's a funny scene where John sits in a bath and tries to figure out what the hell the cleaning implements and ointments are for, then finds out when the servants arrive and start cramming tooth powder into his mouth - but faded. The food has little savor, the colors are dimmed, and even the air is thin. Some catastrophe seems to have cast a magical pall over the entire landscape.

While there are horror elements (like the talking skeleton and some very creepy magic), the tone is more like old-school swords and sorcery given a modern gloss than actual horror. It's dark in parts, but playful in others. There's banter and egg-laying weasels. The plot is complex and intriguing. I assume John and Kahlil will eventually have a romance, and that they will be instrumental in restoring life to the world. But in terms of how that will happen, I have no idea. The broad outlines may be clear, but the way in which things have happened has been consistently surprising.

There are some flaws, which have not spoiled my enjoyment. Some of the supporting characters get a lot of page time but very little character development. There are a few points where characters fail to take what seems like the obvious, sensible action, for no particular reason other than that the plot needed them not to. And while parts of the story have a very real feel to them, other parts are paper-thin. In particular, John seems to have sprung out of thin air, with no school responsibilities, no family, no history, and no associates other than the ones who are central to the plot.

Still, like I said: really fun. Without getting too spoilery, I will mention that John's introduction to the world is sufficiently rocky that I initially thought, "Oh, God, this is going to be that cliched crapsack world where every single character is a total asshole and everyone is constantly getting slaughtered for no reason." That turns out to not be the case. Or, at least, so far it hasn't been.

This is an extremely long novel broken into ten parts of about 100 pages each. If you have already read this, please note that I am only on Part 2. Please do not spoil me for anything past that!

The Shattered Gates (The Rifter)

Servants of the Crossed Arrows (The Rifter)

This is a very difficult book to review. It's a sequel to Anderson's Ultraviolet, which had some nice twists. Though the cover copy suggests that Quicksilver can be read on its own, it spoils every plot twist in Ultraviolet, starting from the very first page. (I also think it would be pretty difficult to follow without having read Ultraviolet first. In fact, I found some plot points difficult to follow because it had been so long since I had read Ultraviolet.)

They're both good books. But if you have any interest in reading either, start with Ultraviolet and don't even read the premise of Quicksilver - literally everything about it is a spoiler for Ultraviolet.

I am going to do two levels of spoiler cuts. The first level will be spoilery for Ultraviolet, the second for Quicksilver.

( giant Ultraviolet spoilers )

( giant Quicksilver spoilers )

Ultraviolet


Quicksilver

My newest book, A Cup of Smoke: stories and poems, is now available for purchase for $ 4.99, at Amazon here A Cup of Smoke: stories and poems, and in epub format at Smashwords. It contains six short stories, twenty poems, and a rodent zodiac.

In a steampunk Wild West, women with nothing left to lose walk into the desert, and emerge soul-bonded to giant robots...

A pair of bickering angels try to re-create Heaven in a Tokyo subway station...

A woman warrior matches swords and wits with a many-headed demon in mythic India...

These stories and more appear in "A Cup of Smoke." The anthology includes the Rhysling Award-winning poem "Nine Views of the Oracle" and the Rhysling nominee poem "Minotaur Noir."

Contains lesbian gunslingers, prophesying ravens, a martial artist on an interplanetary mission of revenge, three golems, and a one-eyed, hopping sandal.

Two of the short stories and eleven of the poems are original to this collection. The other stories originally appeared in Steam-Powered: Lesbian Steampunk I, Strange Horizons, Andromeda Spaceways Magazine, and Cabinet des Fees. All the short stories have new afterwords by the author.

The lovely cover is by Stephanie Folse. Huge thanks to Cora Anderson and Larry Hammer for doing the surprisingly difficult formatting.

Please feel free to link to, tweet, or otherwise publicize this book.

If you would like to review it, please let me know and I will give you a free copy. I don’t usually read reviews and am so busy right now that I’m almost entirely offline everywhere but my own sites, so please review honestly. I am highly unlikely to ever even see it, and I do not expect everyone to love everything in any collection.

Reading for one of my trauma classes. I’m not summarizing the whole thing, just bits I found especially interesting.

Chapter One: Clinical Features of PTSD. Nothing new here.

Chapter Two: Cognitive and Behavioral Features of PTSD.

Amnesia. People rarely have global amnesia for traumatic events (not even knowing it happened or having no memories of any of it), unless they also had a head injury or other physical damage (ETA: or are children, or there were a whole series of similar events, of which only some are remembered. What doesn't happen often: a sober adult has something horrible happen to them, and later does not even recall that it ever happened.) But partial amnesia is extremely common. A typical example is “weapon focus,” in which a person might recall every detail of the gun but nothing about the attacker’s face.

Taylor suggests that this is caused by “attentional narrowing,” which is a common result of extreme arousal. The apparent amnesia is caused by hyperfocus on certain details and total ignoring of others, so the ignored details were never encoded into memory at all. (As opposed to being forgotten or being present but inaccessible.)

My note: be upfront with people about this – they may never be able to recall everything, and that’s okay. Total recall is not necessary to healing.

Guilt. Trauma survivors tend to have a number of incorrect beliefs about the trauma which cause them a lot of pain and suffering. Helping them identify and argue with these beliefs can be very helpful. Great breakdown of common false beliefs on p. 34-35. I’ll just list a few.

- Hindsight bias. “I should have (magically) known the drink was roofied.”

- Justification distortion. “What I did/did not do during the trauma was unjustified.”

- Responsibility distortion. “It was entirely my fault.”

- Wrongdoing distortion. “What I did during the trauma went against my morals and ethics.”

These come about for the following reasons (I only excerpt a few); unraveling them and making them explicit may be very helpful.

- Judging your actions not based on the reality of the situation, but against an ideal or fantasy that didn’t actually exist. “I should have disarmed and kicked the asses of the men who were holding me at gunpoint.”

- Blaming yourself for not acting on ideas you didn’t get until after the fact. “I should have memorized the license plate.”

- Overlooking actual benefits of actual actions. (ie, you got out alive, possibly because of what you actually did.)

- Focusing only on imaginary good outcomes of actions you didn’t take. “If I’d tried to disarm him, I definitely would have succeeded.”

- Not taking into account that when all options are bad, selecting the least bad is a highly moral choice.

- Not taking time and emotional factors into consideration – what you’d do if you had an hour to contemplate it in the peace of your own living room is different from what you do when you have seconds and a gun to your head.

Beliefs about Symptoms

- People with PTSD often think their symptoms mean they’re “going crazy.”

- They tend to interpret emotions or physiological responses as objective truth. “My heart is pounding and I’m frightened, therefore the situation is dangerous.”

- Physical/emotional arousal has become so entwined with negative feelings that they may avoid all arousal, including that caused by exercise or positive feelings. (Anxiety sensitivity.) Interoceptive exposure (inducing arousal in a safe, controlled manner) is good for this.

Clinician's Guide to PTSD: A Cognitive-Behavioral Approach

This continues to be my current favorite urban fantasy series - the series which reminds me of why I ever liked urban fantasy.

I can write little about the sequels without spoiling a major plot development at the end of the first. They're both very good, but I liked Whispers Underground better because the mystery (while somewhat incomprehensible) was less obvious, but mostly because of the return of a certain favorite character.

Highly recommended. Highly, highly recommended. Great characterization, great atmosphere, witty and fun, and surprisingly moving in a low-key way.

Start with the first one, Midnight Riot. Though the individual stories stand on their own, they must be read in sequence because of a certain favorite character's plotline.

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Moon Over Soho

Whispers Under Ground

Clever YA sf in the old-school vein of "work through all the implications of a premise."

Teenage Ephraim finds a "magic coin" which can alter reality, and uses it improve his life: make his mom not an alcoholic, make his crush like him, etc. However, each change creates snowballing changes, often of a monkey's paw nature.

Without getting into moderate spoilers for the nature of the premise (revealed about a third of the way in) about all I can say is that yes, it does deal with the moral implications of "make someone like you," but other implications aren't dealt with as well. As a whole, the novel is solid and gripping but not quite inspired; the second half moves away from extrapolation and into action, and the extrapolation was more interesting.

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Fair Coin