I mentioned that I did in fact read a couple of good books in my late-June travels to counterbalance the bad ones. One of them was The Pushcart War, which I conveniently discovered in my backpack right as I was heading out to stay with the friend who'd loaned it to me a year ago.

I somehow have spent most of my life under the impression that I had already read The Pushcart War, until the plot was actually described to me, at which point it became clear that I'd either read some other Pushcart or some other War but these actual valiant war heroes were actually brand new to me.

The book is science fiction, of a sort, originally published in 1964 and set in 1976 -- Wikipedia tells me that every reprint has moved the date forward to make sure it stays in the future, which I think is very charming -- and purporting to be a work of history for young readers explaining the conflict between Large Truck Corporations and Pugnacious Pushcart Peddlers over the course of one New York City summer. It's a punchy, defiant little book about corporate interest, collective action, and civil disobedience; there's one chapter in particular in which the leaders of the truck companies meet to discuss their master plan of getting everything but trucks off the streets of New York entirely where the metaphor is Quite Dark and Usefully Unsubtle. Also contains charming illustrations! A good read at any time and I'm glad to have finally experienced it.

When kate_nepveu started doing a real-time readalong for Steven Brust & Emma Bull's epistolary novel Freedom and Necessity in 2023, I read just enough of Kate's posts to realize that this was a book that I probably wanted to read for myself and then stopped clicking on the cut-text links. Now, several years later, I have finally done so!

Freedom and Necessity kicks off in 1849, with British gentleman James Cobham politely writing to his favorite cousin Richard to explain he has just learned that everybody thinks he is dead, he does not remember the last two months or indeed anything since the last party the two of them attended together, he is pretending to be a groom at the stables that found him, and would Richard mind telling him whether he thinks he ought to go on pretending to be dead and doing a little light investigation on his behalf into wtf is going on?

We soon learn that a.) James has been involved in something mysterious and political; b.) Richard thinks that James ought to be more worried about something differently mysterious and supernatural; c.) both Richard and James have a lot of extremely verbose opinions about the exciting new topic of Hegelian logic; and d.) James and Richard are both in respective Its Complicateds with two more cousins, Susan and Kitty, and at this point Susan and Kitty kick in with a correspondence of their own as Susan decides to exorcise her grief about the [fake] death of the cousin she Definitely Was Not In Love With by investigating why James kept disappearing for months at a time before he died.

By a few chapters in, I was describing it to genarti as 'Sorcery and Cecelia if you really muscled it up with nineteenth century radical philosophy' and having a wonderful time.

Then I got a few more chapters in and learned more about WTF indeed was up with James and texted Kate like 'WAIT IS THIS A LYMONDALIKE?' to which she responded 'I thought it was obvious!' And I was still having a wonderful time, and continued doing so all through, but could not stop myself from bursting into laughter every time the narrative lovingly described James' pale and delicate-looking yet surprisingly athletic figure or his venomous light voice etc. etc. ( mid-book spoilers )

Anyway, if you've read a Lymond, you know that there's often One Worthy Man in a Lymond book who is genuinely wise and can penetrate Lymond's self-loathing to gently explain to him that he should use his many poisoned gifts for the better. Freedom and Necessity dares to ask the question: what if that man? were Dreamy Friedrich Engels. Which is, frankly, an amazing choice.

Now even as I write this, I know that genarti is glaring at me for the fact that I am allowing Francis Crawford of Lymond to take over this booklog just as the spectre of Francis Crawford of Lymond takes over any book in which he appears -- and I do think that James takes over the book a bit more from Richard and Kitty than I would strictly like (I love Kitty and her cheerful opium visions and her endless run-on sentences as she staunchly holds down the home front). But to give Brust and Bull their credit, Susan staunchly holds her own as co-protagonist in agency, page space and character development despite the fact that James is pulling all the book's actual plot (revolutionary politics chaotically colliding with Gothic occult family drama) around after him like a dramatic black cloak.

And what about the radical politics, anyway? Brust and Bull have absolutely done their reading and research, and I very much enjoy and appreciate the point of view that they're writing from. I do think it's quite funny when Engels is like "James, your first duty is to your class," and James is like "well, I am a British aristocrat, so that's depressing," and Engels is like "you don't have to be! you can just decide to be of the proletariat! any day you can decide that! and then your first duty will be to the proletariat!" which like .... not that you can't decide to be in solidarity with the working class ..... but this is sort of a telling stance in an epistolary novel that does not actually center a single working-class POV. How pleasant to keep writing exclusively about verbose and erudite members of the British gentry who have conveniently chosen to be of the proletariat! James does of course have working-class comrades, and he respects them very much, and is tremendously angsty about their off-page deaths. So it goes.

On the other hand, at this present moment, I honestly found it quite comforting to be reading a political adventure novel set in 1849, in the crashing reactionary aftermath to the various revolutions of 1848. One of the major political themes of the book is concerned with how to keep on going through the low point -- how to keep on working and believing for the better future in the long term, even while knowing that unfortunately it hasn't come yet and given the givens probably won't for some time. Acknowledging the low point and the long game is a challenging thing for fiction to do, and I appreciate it a lot when I see it. I'd like to see more of it.