The Grandmaster of Demonic Cultivation by: Mo Xiang Tong Xiu

mdzs coverThe Grandmaster of Demonic Cultivation 
Written by: Mo Xiang Tong Xiu
Translated by: K.san
2018-2019

This is a phenomenon.

I first discovered this because someone I follow on tumblr was posting a steady stream of amazingly beautiful screencaptures of beautiful people and scenes from the show, The Untamed, showing on Netflix.

theuntamed

I convinced Anna to try it out with me, and we were quickly enthralled and had to watch all 50 episodes even though the plot was confusing enough that we had to read the episode summaries before watching each episode and then discuss the events to make sure we understood what was going on.

It wasn’t helped by the fact that we were dealing with names that we weren’t used to, so mostly gave everyone a nickname: Protagonist, Beloved, Beloved’s brother, Protag’s brother, Protag’s sister, Red girl, Red guy, Fan guy, Douche, Psycho, Douche’s Cousin who makes Douche look better in comparison… etc.

It says something about how charismatic the acting is that we were drawn in despite the initial confusion.

So, we watched all 50 episodes and it was done. There was an amazing and beautiful conclusion. But also: what was I going to do with my evenings now????

I mean, the answer is clearly: fanfic. But before that, I discovered was that the tv show was based off a book, Mo Dao Zu Shi, that has a freely available online fan translation, Grandmaster of Demonic Cultivation by K.san, of all 113 chapters plus 13 “extras”.

There is action and adventure and mystery and intrigue and magic and it is so freaking funny. What was funny in the tv show is ten times funnier in the book because we get the internal monologue of our main character. What was subtext in the tv show is very much text in the text. On the other hand, what was known-but-unspoken by the characters in the tv show is dumb-ass boys being absolutely terrible at communication in the book.

Anyway, this is an east asian fantasy world with swords and magic and ghosts and a variety of supernatural spirits that are probably more culturally known in China but easy enough to just go with as an American reader.

The basic premise, is that a much reviled and yet also much respected character was killed some sixteen years before the start, but has been brought back to life as part of a revenge (on someone else) plot. Wei Wuxian finds himself alive again, somewhat insulted that his reputation after death had gotten so bad that someone brought him back to life to kill their family. And things quickly spiral from there, because sixteen years is just long enough for the next generation to start dealing with the world but not enough for the earlier generations to have forgotten Wei Wuxian or moved on.

There’s a lot of flashbacks in the book as we alternate between seeing what’s going on now, with the newly alive Wei Wuxian, and what happened prior to his original death, and how it got the point where he was killed in a coordinated attack. Meanwhile Wei Wuxian and Lan WangJi have the most slow-burn, mutual-pining, idiot-boys-cannot-communicate, romance going on in both time periods.

It also starts off quite funny, and gets progressively darker as it goes along, even as it maintains some of the humor, and finally breaks through into lightness again at the end.

All this goes to say, I loved this and I want to recommend it to everyone who thinks they might like this kind of fantasy action shenanigans, but if the genre is not your thing, then I’m not sure if the book is good enough to break through. But maybe give the tv show a try just to see.

However, a couple of warnings:

Warning #1: the translation is very, very good for an amateur, but is rough for a professional. I did find the translator notes quite interesting as she discussed some of the word choices she made. And since she was posting the translated chapters as she went, it’s also interesting to see how the translations changed and improved over the course of the full book.

Warning #2: there is explicit sex near the end of the book and even more in the “extra” chapters after the story arc is complete. The scenes say more to me about the author’s kinks rather than staying true to the characters. Since the kink in question, playing with consent issues, is kind of my anti-kink, even when it’s clearly desired by both, I didn’t care for it and look forward to fanfic fixing that particular aspect.

Ordeal by Innocence

By Agatha Christie

Ordeal_By_InnocenceWe finally bit the bullet and got Amazon Prime in order to watch “Good Omens,” and since then I’ve also been diving into all the Agatha Christie I’d been pining after. I’d previously reviewed the novel Crooked House, and the movie lacks a fair amount of the charm of the novel, replacing the more familial relationships with additional drama. However, the casting is truly amazing: Glenn Close, Gillian Anderson, and Christina Hendricks, all playing extreme personalities rubbing against each other in the titular crooked house. So, while I preferred the novel overall, the movie is well worth a watch.

After Crooked House, Amazon recommended “Ordeal by Innocence,” a three-part miniseries based on another stand-alone Agatha Christie novel I wasn’t familiar with. Well, I absolutely loved it! An authoritative matriarch has adopted five children from a variety of troubled backgrounds and raised them with dictatorial love. At the time of the book and miniseries’ start, she has been murdered 18 months ago, and the youngest son, with a history of delinquency, found guilty from overwhelming evidence. The son had insisted on his innocence until he died in prison, providing an alibi that couldn’t be confirmed.

The first character we meet is the man who could have proven the alibi, but has been incapacitated for the past 18 months, and is only coming forward now. This of course opens a whole can of worms, as the family had finally settled into some semblance of acceptance of the mother’s death and the son’s culpability, and now suspicion is everywhere again.

The miniseries takes some of the subtext from the book and makes it straight up text, leading to some deliciously shocking reveals along the way. Controversially, the series actually changes the ending, going with a different perpetrator and motive than the book. The revised ending maintains the spirit of the book, and gives a clear nod to a pivotal relationship in the original.

The book is much quieter, taking a more philosophical approach toward what it means to be innocent of a crime if no one can prove it (thus the title). Wikipedia cited that it was not one of Christie’s more popular novels, with reviewers wary of the psychological delving into motives and character. I wouldn’t normally have minded this, but 1950s psychology is rough. The women are portrayed especially uncharitably, which I would guess inspired the changed ending.

As Rebecca pointed out, the two books complement each other fairly well: both large, wealthy families consisting of conflicting strong personalities; in one, the troubled backgrounds of the family members lead naturally to conflict; in the other, the family seems to turn to conflict themselves just for the entertainment. For each, I preferred the version that included the most warmth in characters, and for one that was the novel and for the other the updated series.

As an aside, we also tried to watch “The ABC Murders” with John Malkovich as an aging and depressed Hercule Poirot, and it was such a depressing grind that we couldn’t get past the first episode.

More Fleabag

A few weeks ago I recommended some TV that I thought the Biblio-therapy readers would enjoy, since books have been a bit disappointing of late. (I did recently enjoy Normal People by Sally Rooney, but basically everyone else in the world has written a glowing review of it.) One of the shows I talked about was Fleabag, and I mentioned that the second season would be coming to Amazon soon. I have to admit that I was a little wary of this new season–the first season was such a beautifully complete story that I couldn’t imagine how a second season could measure up. But, you guys, Season 2 is BETTER. I don’t want to give away too much, but there are wonderful things happening with characters and with the narrative structure, and it was just a sort of a perfect season of TV. Everyone should watch it. Seriously, please go watch it, because I really need someone to talk about it with.

Awesome New(ish) TV By and About Women

Do other people fall into reading ruts where you’re reading all the time and finishing lots of books, but nothing really excites you or even sticks in your memory? Over the past couple of months I’ve read all sorts of things, including some with quite a bit of buzz (The Woman in the Window, The Immortalists), but have been pretty uninspired by all of them.  But I have been watching lots of great TV, across the full range of steaming services I apparently now have to pay for. I have particularly enjoyed several short series that show some realities of being a woman that I haven’t often seen on TV before. So here are Kinsey’s official recommendations for your spring TV viewing. They’re all short enough to knock out in a single evening, although they are all also at least a little raunchy and maybe things you don’t want to watch with your mom or your kids. Although, I don’t know your life or your mom or your kids, you do you.

Derry Girls (Netflix) is a comedy about a group of friends who go to a Catholic girls school in Northern Ireland in the 1990s.  It captures the intricate social strata of high school girls perfectly, and the family interactions have a completely non-saccharine ring of truth to them, while also being very funny. There’s a scene where someone drops a glass on the kitchen floor and a character’s mom acts like a nuclear spill has occurred and makes everyone stand on chairs–I loved it so much I had to rewind and watch that bit again. But as funny as the show is, the Troubles in Northern Ireland are always hovering on the edges, never letting anyone completely forget that they are living their lives in a battle zone. Also, there is amazing 90s music for my fellow Gen Xers, and Northern Irish accents that required me to have subtitles on to understand everything going on.

Shrill (Hulu) Lindy West’s memoir didn’t originally strike me as good source material for a fictional show, but the first season absolutely charmed me. Aidy Bryant (who I didn’t know before because I hate Saturday Night Live and never watch it) is amazing as a woman trying to navigate life as an entry-level journalist with a meddling mom and a terrible non-boyfriend. I guess you would say that her weight is the hook of the show, but it’s not like every episode is about how hard it is to be fat. Very early on she decides she is going to stop obsessing and just live her damn life, and most of the episodes are about her doing just that. Within the first five minutes of episode one I started googling to try to figure out where to buy her cute clothes and the infuriating answer is that they had to custom make basically everything because plus-size clothes are so awful. So enjoy the show, but know going in that you will not be able to buy those dresses.

Fleabag (Amazon) When I started writing this I initially thought, “Oh, I have three women-centered comedies to recommend!” But Fleabag might stretch the definition of comedy, so be warned. It follows a young London woman though encounters with men, her father and stepmother (played by the marvelous Olivia Coleman as possibly the worst woman in the world), and her sister. The main character is clearly on the verge of falling apart after a tragedy that is only slowly revealed in the show, and her relationships with her family make me want to use words like “searing” and “blistering.” Phoebe Waller-Bridge is the star and creator, and she is so observant and specific about the absurdity of life that the show is funny, while also pressing on some very painful areas of the psyche. Season 1 has been out for a couple of years, but I was finally inspired to watch it because Season 2 just showed to raves in the UK, and will be coming to Amazon in May. So now is a good time to get on this dark, dark train.

 

 

Other Media

Kinsey has mentioned this before, but in addition to reading, we also watch a lot of television and listen to podcasts. I have two very particular* recommendations that are bringing me joy in these extremely trying times:

The Dragon Prince

Netflix

TheDragonPrinceOh, The Dragon Prince! The first season of this cartoon just hit Netflix a few weeks ago, and it probably would have passed me by entirely except for a thread of kudos on twitter. And I absolutely loved it! It reminds me of my favorite cartoons from when I was a kid: character-driven and quest-oriented fantasies like The Secret of NIMH and The Last Unicorn. Rebecca and I rationed ourselves and watched the nine half-hour episodes over three days, but were still real sad when we finished them.

About halfway through, I commented to Rebecca that in a weird way it made me think of Game of Thrones for kids. The world is split into multiple kingdoms that have been fighting each other for some vague number of years. A variety of characters from different lands and backgrounds must form and break alliances to strive for their own goals. And, of course, the violence is turned way down and the sex eliminated entirely. Dare I say I enjoyed it more?

Wolverine: The Long Night

Stitcher

TheLongNightIf The Dragon Prince is Game of Thrones, then Wolverine: The Long Night is True Detective (season 1, the only season). The Long Night is Marvel’s first authorized podcast and it is a beautifully done drama in the style of old radio shows like Dragnet and The Shadow. Now I love a classic radio drama to begin with, but I really think this is something special.

Also like The Dragon Prince, each episode of The Long Night is disappointingly short, only about half an hour. For the first five episodes, at least, Logan himself is very much a peripheral character: talked about briefly, but only showing up in person (in voice?) a very few times. The primary narrators are two FBI agents who have been dispatched to rural Alaska after a fishing boat is found with the entire crew slaughtered. Once the agents are in town, they discover that previous suspicious deaths had been hastily charged to bear killings, and that the whole town is a tangle of secrets centering around the one wealthy family.

The whole show does a wonderful job of creating atmosphere just through different tones of voice, and some light musical overlay. The writers manage to convey an impressive amount of information through dialogue without a lot of single-person narration or exposition. It just makes me so, so happy, and my only qualification is that there isn’t enough of it (yet), so it can be a bit frustrating.

*I say particular because while I love both of these, they are each for distinct fan-bases. Rebecca loved The Dragon Prince, as well, but doesn’t care for any radio dramas, and certainly wouldn’t like a noir-like mystery radio drama. Kinsey, a big podcast fan, is not super into cartoons, though it is possible that The Dragon Prince is charming enough to overcome that.

The Butchered Man

By Harriet Smart

The_AlienistSo, I’d read The Alienist over twenty years ago in college, and only vaguely remembered  it being about applying the very young field of psychology to the profiling of serial killers, and that the serial killer in question preyed on young boy prostitutes. I didn’t remember any details, including any of the central characters or the final solution, so the miniseries was almost a brand-new story for me, and I loved it! The acting was all excellent, overshadowed only by the lush cinematography highlighting the dramatic differences between the very wealthy and the very poor at the end of the nineteenth century. I am very much hoping that TNT decides to tackle the sequel, The Angel of Darkness, next!

Butchered_ManAnyway, The Butchered Man reminded me strongly of The Alienist, in a good way. It takes place a good fifty years earlier and in rural England, but the two central protagonists fit right in. Giles Vernon is an ex-military man and current police chief, who is working to transition the local police from a loose watchman structure to a more organized unit based on his military experience. To that end, he hires Felix Carswell as a full-time police surgeon and forensic pathologist.

So, both characters are on the cutting edge of their professions and struggling against the status quo to push advancements. Carswell is a particularly interesting character; as the acknowledged natural son of one of the local bigwigs, he struggles with not quite fitting into any social strata. I was immediately engaged in both the characters and the mystery, and am looking forward to continuing with the series. My one caveat, though, is that the overall story does not necessarily show women overall in the best light, and I’ll be on the watch for that in the subsequent novels.

FalletAnd going back to TV, can I also recommend “Fallet” on Netflix? The preview seem to show a somewhat generically dark police procedural, but there was a subtle quirkiness to it that attracted me. Let me tell you, in the actual show, the quirkiness is not subtle: “Fallet” is an extremely funny satire of the popular Nordic mystery genre. The characters and dialogue are laugh-out-loud funny, but the actors, director, and cinematographer all play it extremely straight, which makes it even funnier. The whole season is eight half-hour episodes, so it is a quick and easy watch, though it is subtitled, since half the characters speak Swedish.

The Sisters Brothers

By Patrick deWitt

Sisters_BrothersI really like Western movies, but I’m not sure I’ve ever read a book in the genre, actually. I love to see the long shots of empty vistas and close-ups of horses, but am not quite so keen to read about them. I have a suspicion that The Sisters Brothers is not your normal Western, but I absolutely loved it!

It was the title that caught my attention, of course, and I checked it out, just to figure out how to parse it (it is two brothers with the last name Sisters). The Sisters Brothers are infamous gunslingers hired by a mob boss to track down someone who ran with his money. Along the way, they run into various misadventures, and discover that things are not exactly as they’ve been told.

It’s not for everyone, I’d say; the writing was similar to Faulkner’s, I thought, with a plainness that highlights the sort of general absurdity of life, but more plot-driven than Faulkner usually is, which is probably why it is a genre novel, not capital-L Literature. It reminded me a lot of the Fargo television show, actually: a fair amount of extreme violence, but balanced with a quirky humor and some unexpected heart.

Speaking of television shows…

Pocketful of Bones

By Julie Frayn

Pocketful_of_BonesPocketful of Bones is straight-up Bates Motel! Within the first chapter or two, a young prostitute accidentally gets pregnant from a john; when he discovers the baby and threatens to take the child from her, she kills him and buries him the backyard She continues to support herself and her son through sex work, which complicates the son’s adolescent sexual awakening (to put it nicely).

Per the description on the back of the book, eventually things come to a head, when the mom has to rebuff the son’s advances, and he leaves, only returning to the house (and yard) much later. The first half constantly increases the sense anxiety, as the bodies pile up, but tempers it with moments of humor and pathos. As it neared the middle, though, I was sort of gritting my teeth, trying to get past the impending incest-adjacent scene, hoping for a respite from the claustrophobia of the house and yard.

Unfortunately, the damage has been done, and the second half just doubles-down, with two different narratives of disturbed people with the potential to wreck havoc on everyone around them. The anxiety became unsustainable, and I found it increasingly difficult to finish. As an aside: this book is not kind to men in general; almost all victims are men, and while it is debatable whether they deserve to be killed and buried in someone’s backyard, I certainly understood why someone might be tempted to do just that.

And Then There Were None

By Agatha Christie

So, over the holiday season, Rebecca and I finally broke down and got Amazon Prime. I’d been resisting because Amazon does some really shady stuff with pricing and publishing, but that free two-day shipping is really seductive. The streaming service isn’t so bad, either, and I finally got a chance to see the recent BBC production of “And Then There Were None,” which I’ve been eagerly waiting to be widely available. I remember reading and really enjoying the novel in high school, so I remembered the basic premise – that ten people are invited on a holiday weekend at a remote island mansion, where they are murdered one by one over the course of a few days – though I didn’t remember all the details.

aidan-turnerI have to admit that I mostly wanted to watch the miniseries because I am a shameful sucker for a pretty face, and Aidan Turner is just so damn attractive. He is so attractive that I’ve watched two very mediocre shows (“Being Human” and “Poldark”) solely in order to look at him. He was very good in this, though his character also turned out to be the most problematic part for me.

Mild spoiler from the first few chapters: all the people on the island are accused of murdering one or two people, except for Turner’s character, who unrepentantly admits to killing about 20 African tribesmen. The other characters are appalled, but not enough to my mind, given we are talking about a large-scale massacre. The other characters make stifled British exclamations over it, but still seem to view him as dangerously fascinating. It really did come across as killing 20 Africans is equal in “badness” to killing one to two English people.

and-then-there-were-noneThat was the one sour note for me; overall, it was all very dramatic and fun to watch. Since there was a fair amount of sex and violence, I wondered what liberties the show had taken to ‘modernize’ the source material, so I checked out the book, and it turns out, not much. That Agatha Christy was quite the salty lady! The show ups the ante just a bit on both, but still sticks remarkably close to the original novel.

I’m not going to spoil anything more of the plot – murders! sex! violence! racism! – but Agatha Christy said that she considered this her most difficult plot to write, and her care and eye for detail really shows. Since I already knew whodunit, I could see all the small ways she had revealed that person throughout the plotting, which provided additional enjoyment to rereading it.

Preacher

By Garth Ennis

PreacherI’ve been looking forward to the tv show “Preacher” for a while before it premiered last month on AMC. I’d never read the comic book, but I think Dominic Cooper is extremely handsome and just needs to be in more shows and movies in general.

The first episode was a fun, over-the-top mishmash of a western, gritty noir, religious horror, and violent comic book action, all of which are things I like. Dominic Cooper, playing the titular preacher Jesse Custer, was as attractive as expected. Ruth Negga plays Jesse’s ex-girlfriend Tulip, and is so witty and lovely that she steals every scene she’s in. The plot was fairly disjointed, but that’s not terribly unusual for a pilot episode, and the second episode had smoother pacing as well more Tulip, which will always be a good thing.

Preacher2For people unfamiliar with the basic premise, Jesse Custer is a preacher in a small Texas town with a dwindling faith and congregation. In the middle of a lackluster sermon, he gets struck by a supernatural entity, which bestows on him the Voice of God, allowing him to command absolute obedience. Any person’s use of this power is clearly problematic, and sets Jesse up as a pretty classic anti-hero. Rebecca pointed out that this is the precise power abused by the terrifying villain Kilgrave in “Jessica Jones.”

Anyway, I was enjoying the show enough that I decided to go back and read the comic books, written by Garth Ennis. Now, I’m a big fan of Ennis, who wrote Hitman, one of my favorite comic series, which I’ll need to review some other time, but I have not been impressed with the Preacher comic series. In the written series, Jesse is not only an anti-hero, but just an all-around dick. He has a really annoying stereotypical masculinity that is a real pain in the ass to read about. To complement this, Tulip is a whiny pushover who I have trouble even understanding, let alone empathizing.

I was complaining about this to the coworker who had lent me his Preacher comics to read, and he had an interesting theory about it. He said that he figured that Ennis was satirizing Texas good-ole-boy culture. The only problem with that is that Northern-Irish Ennis has no idea what he’s talking about. While Texas misogyny can be a real problem, it is also a lot more nuanced that Ennis shows here. But I don’t want to get bogged down in a dissertation on gender roles in Texas culture, and anyway Rebecca can speak to this much better than I can, having lived in Texas for twice as long.

The tv show also gets Texas culture wrong, though not quite as offensively, and I’m willing to overlook it in favor of the improvements in both Jesse and Tulip. However, by the fourth episode, the plot is floundering a little, and I wish they’d pick up comic’s pacing at the very least.

—Anna

The Man in the High Castle Book vs. Movie Showdown

It often feels like people set up book readers and movie watchers as adversaries, especially when it comes to adaptations of written works to movies (or TV). “Are you mad that they’re turning this into a movie?”  “How bad will the movie be?” “If you didn’t read the book, you’re not really a fan! You can possibly appreciate the story!” And as a self-proclaimed reader who loves books, people seem to think that my loyalty will lie with books and I will be offended by any adaptation. But I actually love watching movies or TV versions of books and short stories! I find it fascinating to see how something from one medium is changed to another. What characters have to be cut or combined to make something work on screen? How does a plot need to be condensed or modified to work visually? Rather than take the changes personally, I find the adaptation process to be like watching someone work out a logic problem and I like seeing the solutions people come up with. For example, when I heard they were making a movie of the Cheryl Strayed book Wild, I just couldn’t imagine how they were going to turn that very introspective story into a movie. But the movie did a fabulous job of weaving in flashbacks while using silence to communicate Strayed’s loneliness and solitude on her hike. After I saw the movie Brokeback Mountain I went and read the source material–in that case, the movie was based on a short story, so the screenwriter had to create new material to fill out the story. If I had read the story first, I would not have believed it could be successfully expanded to a two-hour movie, but that movie is beautiful and, I think, very true to the original story. Adaptations don’t always work, of course–Little Women  is one of my very favorite books of all time, and pretty much every movie version has serious problems with casting (Winona Ryder as Jo, really?) and issues with the (admittedly) serial plot. But I also once saw a stage production of Little Women that was a failure in almost every way, EXCEPT they totally fixed Professor Bhaer by making him the same age as Jo and writing him as an absent-minded young man. He instantly went from creepy to cute. My point here is, I like comparing different media versions of the same material and seeing what works and what doesn’t, but I don’t always feel like I have to rule that one is better than another.

Having said all that, let’s talk about The Man in the High Castle. In late 2015 Amazon released a ten-episode season of an original drama based on the Philip K. Dick novel. I had never read the book, so I went into the show knowing only that it was an alternate history about a world where the Axis won WWII, and the U.S. was now divided into a West Coast occupied by the Japanese, an East Coast occupied by the Nazis, and an independent, lawless Rocky Mountain region. It’s now the early 1960s and the story follows, among other characters, members of a resistance group that are working to smuggle newsreels that seem to show the Axis losing the war to a mystery “man in the high castle” who provides them anti-Axis intel in return. The show definitely has some issues. The most primary characters–young people caught up in both the resistance and a love triangle–are the dullest on the show. Things move slowly at times, and it is dark. Really dark. Like, there were several times when I thought, “Well, surely they won’t go that far.” But, they’re Nazis! Of course they will go that far! But I really enjoyed the show overall. The world building is excellent–the scenes in San Francisco show all sorts of subtle ways that Japanese culture has been woven into the American city–and Rufus Sewell is chilling as a New York-based Nazi leader. And the newsreels that seem to show the U.S. winning the war raise all sorts of interesting questions that introduce a sci-fi element to the story (Are these fake newsreels? Are they showing our world? Is some sort of time travel happening?). By episode 10, the plot was moving along at a good pace and it ended on a cliffhanger than makes me very eager to check out (the yet-to-be-announced) Season 2.

As I was watching I heard, either online or on podcasts, that the plot of the show branched off from the book very quickly, and that in the book the newsreels were actually books themselves. This kind of change–changing a book to a film so it plays better in a visual medium–is exactly the sort of thing that fascinates me, so I decided to read The Man in the High Castle and see how the book compares. WELL. Look, I know that Philip K. Dick is a highly-regarded giant of science fiction, and I’m sure there are people out there railing about how the TV show completely ruined the book. But as far as I am concerned? DO NOT READ THIS BOOK.

First of all, the plots of the two versions are wildly different, and the characters just barely even line up. The Rufus Sewell character (probably the most compelling on the show) isn’t in the book at all, and most of the other characters bear little resemblance to their TV versions. The plot does involve a mysterious book and a resistance movement, but that’s about it–it feels as if the TV writers took the basic premise of an occupied U.S. and the character names, and then went off and did their own thing. And for the most part, that new thing is more complex, with more moving parts and more people, than the book. The TV show did drop a few things that could have been interesting–in the book the Nazis are in the process of colonizing Mars–but that were presumably too complicated for TV. But overall I found the multiple plot threads of the TV show more twisty and fun. However, none of that is why I am telling you not to read this book. My issue is that the book was horribly, terribly, sexist and racist. Every female character is both stupid and mean, and Dick makes a disturbing number of “dumb, like all women” comments. And there are plenty of cases where the book will use a racial slur, and it’s obviously because that is what a particular Nazi character would say or how a white man living under Japanese occupation would feel. But there were also lots of times where it seemed pretty clear that Dick was using a slur because he himself did not realize it was a slur. It all made me feel icky and I almost gave up on the book entirely because it was so gross.

So, although I generally don’t feel the need to decide whether the book or the movie (or TV show) wins, or to tell people that one version is definitive, in this case I am clear: the TV show is better. The move down the scale of racism and sexism would be all that I needed to make that call, but I actually also thought that the TV show’s expansion of the plot and characters and the visual world building were significantly more interesting than in the book. So, as long as you have a high tolerance for darkness, I would say watch the show, and don’t feel a single bit of guilt about ignoring the book altogether.