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Blackheart Man
The magical island of Chynchin is facing conquerors from abroad and something sinister from within in this entrancing fantasy from the Grand Master Award–winning author Nalo Hopkinson.
Veycosi, in training as a griot (an historian and musician), hopes to sail off to examine the rare Alamat Book of Light and thus secure a spot for himself on Chynchin’s Colloquium of scholars. However, unexpected events prevent that from happening. Fifteen Ymisen galleons arrive in the harbor to force a trade agreement on Chynchin. Veycosi tries to help, hoping to prove himself with a bold move, but quickly finds himself in way over his head.
Bad turns to worse when malign forces start stirring. Pickens (children) are disappearing and an ancient invading army, long frozen into piche (tar) statues by island witches is stirring to life—led by the fearsome demon known as the Blackheart Man. Veycosi has problems in his polyamorous personal life, too. How much trouble can a poor student take? Or cause all by himself as the line between myth and history blends in this delightfully sly tale by one of greatest novelists.
Veycosi, in training as a griot (an historian and musician), hopes to sail off to examine the rare Alamat Book of Light and thus secure a spot for himself on Chynchin’s Colloquium of scholars. However, unexpected events prevent that from happening. Fifteen Ymisen galleons arrive in the harbor to force a trade agreement on Chynchin. Veycosi tries to help, hoping to prove himself with a bold move, but quickly finds himself in way over his head.
Bad turns to worse when malign forces start stirring. Pickens (children) are disappearing and an ancient invading army, long frozen into piche (tar) statues by island witches is stirring to life—led by the fearsome demon known as the Blackheart Man. Veycosi has problems in his polyamorous personal life, too. How much trouble can a poor student take? Or cause all by himself as the line between myth and history blends in this delightfully sly tale by one of greatest novelists.
380 pages, Kindle Edition
First published August 20, 2024
59 people are currently reading
5981 people want to read
About the author
Nalo Hopkinson
143 books2,033 followersNalo Hopkinson is a Jamaican-born writer and editor who lives in Canada. Her science fiction and fantasy novels and short stories often draw on Caribbean history and language, and its traditions of oral and written storytelling.
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Displaying 1 - 30 of 98 reviews
June 25, 2024
Blackheart Man is set on the island of Chynchin, where main character Veycosi is working to become a singer-storyteller and looking forward to wedding his betrotheds, Thandiwe and Gombey. From the outset, it is clear Veycosi is someone keen to accomplish great things and solve problems his community is facing, but he is far from consistently effective. When the Ymisen arrive – whom Chynchin had previously successfully repelled from their island – Veycosi tries to help, but of course it doesn’t go as planned.
Hopkinson’s worldbuilding is, as always, incredible. On Chynchin, the economy is decidedly non-capitalist – people give away items they don’t need in ‘generousities’ and the idea of paying someone for work is seen as an insult (‘I assume you are a layabout who must be bribed to do an honest day’s work’); ship’s captain is a role for women and third-sexed folks and marriages are between threes. This is a world where diverse genders and sexualities are for the most part unremarkable, not marginalized. Chynchin’s Caribbean influences are clear – references to obeah, for example, are plentiful – and Hopkinson’s writing in Chynchin dialects, incorporation of myth, and exploration of the role of storytelling in Chynchin all contribute to making this novel a truly immersive read.
The plot is quite quick. There is a lot going on here. I think there is room for a sequel – if Hopkinson were to write another book in this world, I’d happily pick it up.
Content warnings: violence, colonization, war, death, murder, child death, medical content (not graphic), sexual assault (not graphically described), blood, injury detail, animal death
Thank you to NetGalley & Simon and Schuster for providing me with an ARC to review.
Hopkinson’s worldbuilding is, as always, incredible. On Chynchin, the economy is decidedly non-capitalist – people give away items they don’t need in ‘generousities’ and the idea of paying someone for work is seen as an insult (‘I assume you are a layabout who must be bribed to do an honest day’s work’); ship’s captain is a role for women and third-sexed folks and marriages are between threes. This is a world where diverse genders and sexualities are for the most part unremarkable, not marginalized. Chynchin’s Caribbean influences are clear – references to obeah, for example, are plentiful – and Hopkinson’s writing in Chynchin dialects, incorporation of myth, and exploration of the role of storytelling in Chynchin all contribute to making this novel a truly immersive read.
The plot is quite quick. There is a lot going on here. I think there is room for a sequel – if Hopkinson were to write another book in this world, I’d happily pick it up.
Content warnings: violence, colonization, war, death, murder, child death, medical content (not graphic), sexual assault (not graphically described), blood, injury detail, animal death
Thank you to NetGalley & Simon and Schuster for providing me with an ARC to review.
August 12, 2025
Mythic fantasy and folklore blend the past and present in this immersive celebration of story. The world-building here is phenomenal, a constantly expanding understanding of the world that combines various cultural histories into a coherent and engaging world. This is only accented by the wonderful use of dialogue and dialect, which really force the reader to be situated in this place, one with a history that feels lived in and real. The characters are similarly complicated and developed, shaped by their environments as much as there are weavers of it, and the constant give and take between the world and the characters is delightful. What is most impressive is that neither the world nor our characters, including the central character, are presented as perfect. The world has centuries worth of racism and xenophobia that is considered normal, and while there is a historical context making it understandable the story doesn’t refuse to look away from the injustice of it. Similarly, the main character is arrogant and immature in some ways, making absolutely infuriating decisions on occasion, and that is presented along with his many good and enticing qualities. This ability to have nuance and depth to the world and characters really makes this story special.
The writing was wonderful, with grounded dialogue spoken in a convincing and encompassing dialect that managed to ground this story while simultaneously making it feel buoyant. The story and plotting, however, were not as successful for me. I appreciated the whole story from a few steps back, or the ideas behind the story, but the resolution felt convenient and more based on (narrative) luck than on any action done by our characters. This may in part be because the story moves quite slowly. I enjoyed any given scene, they all felt colorful and kept me engaged, but when those enjoyable scenes were strung together they didn’t move the plot forward in any steady or reliable way. It felt like the story’s major conflicts are resolved mighty quickly in the last chapter, and while there had been increasing tension leading up to that it didn’t feel like the characters were actively working toward that resolution. The conceit behind the story was really engaging but the way it actually played out, the actions the characters took, could have been condensed into a chunky novella. Every scene did continue to add to the world and to the characters and as I mentioned I enjoyed the scenes on an individual basis, and the writing for each is lush and really embraces the reader, they just did not create enough plot momentum for the story to really pull the reader along.
I still had a really good time with this story. The actual writing is strong and descriptive and was really fun to be lost in. The story plays with all sorts of ideas about gender roles, family systems, social structures, government, and ideas of community, ideas of autonomy, ownership, colonization, race, and more. It does all of these within a novel and creative mythology populated by messy, multidimensional characters. The story is worth reading for the writing and world-building alone, and getting to grapple with all these ideas is an added bonus. I would have enjoyed it if the story had a little more narrative momentum and if the action was paced and plotted a little differently, but that didn’t stop me from being entranced by this story.
The writing was wonderful, with grounded dialogue spoken in a convincing and encompassing dialect that managed to ground this story while simultaneously making it feel buoyant. The story and plotting, however, were not as successful for me. I appreciated the whole story from a few steps back, or the ideas behind the story, but the resolution felt convenient and more based on (narrative) luck than on any action done by our characters. This may in part be because the story moves quite slowly. I enjoyed any given scene, they all felt colorful and kept me engaged, but when those enjoyable scenes were strung together they didn’t move the plot forward in any steady or reliable way. It felt like the story’s major conflicts are resolved mighty quickly in the last chapter, and while there had been increasing tension leading up to that it didn’t feel like the characters were actively working toward that resolution. The conceit behind the story was really engaging but the way it actually played out, the actions the characters took, could have been condensed into a chunky novella. Every scene did continue to add to the world and to the characters and as I mentioned I enjoyed the scenes on an individual basis, and the writing for each is lush and really embraces the reader, they just did not create enough plot momentum for the story to really pull the reader along.
I still had a really good time with this story. The actual writing is strong and descriptive and was really fun to be lost in. The story plays with all sorts of ideas about gender roles, family systems, social structures, government, and ideas of community, ideas of autonomy, ownership, colonization, race, and more. It does all of these within a novel and creative mythology populated by messy, multidimensional characters. The story is worth reading for the writing and world-building alone, and getting to grapple with all these ideas is an added bonus. I would have enjoyed it if the story had a little more narrative momentum and if the action was paced and plotted a little differently, but that didn’t stop me from being entranced by this story.
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March 28, 2025Highly recommend the audiobook, for the the performance. It really bring the dialect to life!
*I am not rating books read for the World Fantasy Award.*
*I am not rating books read for the World Fantasy Award.*
August 19, 2024
I’ve just finished reading this book, and I have to say, it’s one of those stories that really pulls you in and immerses you in a world that’s rich, complex, and just a little bit different from what you might be used to.
One of the first things that struck me about The Blackheart Man is the dialogue. It’s not your typical straightforward conversation. You really have to rely on context, clues, and repetition to figure out the meanings of some of the words and phrases used. At first, it might feel a bit disorienting, but that’s part of what makes it so immersive. You’re not just reading a story; you’re being transported to a place that feels truly otherworldly. It took some time to adjust, but once I did, I found myself completely absorbed in the world Hopkinson has built.
Speaking of world-building, Hopkinson has done an absolutely stunning job. The world of The Blackheart Man isn’t just a backdrop for the story—it’s a living, breathing entity. We get to explore the culture, the food, the way relationships work, how people interact, and even how they exchange goods. And what’s really impressive is that all of this is shown to us, not told. There’s no overwhelming lore dump; instead, we’re gently eased into the nuances of this world in a way that feels natural and engaging.
Now, let’s talk about our main character, Veycosi. He’s… well, he’s a bit insufferable at times. He’s one of those characters who means well but often gets things wrong. Despite that, he’s layered and intriguing, and even when I didn’t agree with his decisions, I was invested in his journey. Veycosi really embodies that idea that good intentions don’t always lead to good outcomes, and that made him a fascinating character to follow.
The plot of The Blackheart Man is another aspect that kept me hooked. Honestly, aside from what’s hinted at in the blurb—like the coming war and the mystery of the missing children—I had no idea where things were going. And that’s a good thing! There were so many twists and turns, but they didn’t feel like those cheap “gotcha” moments. Instead, they were natural progressions of the plot that I just didn’t see coming, which I appreciated so much more.
The interaction between magic and logic in this world is fascinating, and we see it mostly through Veycosi’s experiences. Hopkinson does an excellent job of balancing the mystical elements with a sense of reality, making the magic feel both wondrous and grounded at the same time.
Another thing that really stood out to me was the use of language and culture in the book. There are different dialects spoken throughout, and while some of the words might be unfamiliar, it adds to the authenticity and depth of the world. Each character, even those who aren’t heavily featured, has a distinct voice. The descriptions of food and social interactions are particularly stunning. The way people in this Afro-Caribbean-inspired world socialize, especially around food and drink, felt so rich and true to the culture. As someone familiar with this culture, seeing elements like rum shops featured so prominently was really cool.
The relationships in The Blackheart Man are another highlight. This is a queer-normative world where relationships aren’t confined to the typical structures we often see. Triads are the common marriage structure, and it was refreshing to see relationships that go beyond the usual tropes like fated mates or harems. The representation of different genders and sexual orientations felt natural and accepted within the culture. It was especially interesting to see how these relationships were integrated into the story, making it feel like a truly inclusive world.
Now, let’s talk about pacing. The first 60% of the book feels like it’s setting the stage for what’s to come—laying the foundation for the war, introducing us to Veycosi’s issues with memory loss, and getting us familiar with the political and social dynamics at play. But once the groundwork is laid, the story really starts to pick up. The action towards the end felt appropriately paced, with everything coming together in a way that was both satisfying and exciting.
What I really appreciated was that the character arcs were fully followed through, not just for Veycosi, but for some of the side characters as well. The story wraps up nicely, but the world Hopkinson has created feels so alive and expansive that there’s definitely room for more stories in this universe.
So, to sum it all up, The Blackheart Man by Nalo Hopkinson is a richly immersive, character-driven story set in a world that feels truly otherworldly. It’s a book that challenges you to engage with it, and once you do, it rewards you with a fascinating plot, deep character arcs, and a culture that feels vibrant and real. I’d highly recommend giving it a read, especially if you’re looking for something that offers a bit more depth and diversity than your typical fantasy novel.
A big thank you to Saga Press for providing me with this ARC!
One of the first things that struck me about The Blackheart Man is the dialogue. It’s not your typical straightforward conversation. You really have to rely on context, clues, and repetition to figure out the meanings of some of the words and phrases used. At first, it might feel a bit disorienting, but that’s part of what makes it so immersive. You’re not just reading a story; you’re being transported to a place that feels truly otherworldly. It took some time to adjust, but once I did, I found myself completely absorbed in the world Hopkinson has built.
Speaking of world-building, Hopkinson has done an absolutely stunning job. The world of The Blackheart Man isn’t just a backdrop for the story—it’s a living, breathing entity. We get to explore the culture, the food, the way relationships work, how people interact, and even how they exchange goods. And what’s really impressive is that all of this is shown to us, not told. There’s no overwhelming lore dump; instead, we’re gently eased into the nuances of this world in a way that feels natural and engaging.
Now, let’s talk about our main character, Veycosi. He’s… well, he’s a bit insufferable at times. He’s one of those characters who means well but often gets things wrong. Despite that, he’s layered and intriguing, and even when I didn’t agree with his decisions, I was invested in his journey. Veycosi really embodies that idea that good intentions don’t always lead to good outcomes, and that made him a fascinating character to follow.
The plot of The Blackheart Man is another aspect that kept me hooked. Honestly, aside from what’s hinted at in the blurb—like the coming war and the mystery of the missing children—I had no idea where things were going. And that’s a good thing! There were so many twists and turns, but they didn’t feel like those cheap “gotcha” moments. Instead, they were natural progressions of the plot that I just didn’t see coming, which I appreciated so much more.
The interaction between magic and logic in this world is fascinating, and we see it mostly through Veycosi’s experiences. Hopkinson does an excellent job of balancing the mystical elements with a sense of reality, making the magic feel both wondrous and grounded at the same time.
Another thing that really stood out to me was the use of language and culture in the book. There are different dialects spoken throughout, and while some of the words might be unfamiliar, it adds to the authenticity and depth of the world. Each character, even those who aren’t heavily featured, has a distinct voice. The descriptions of food and social interactions are particularly stunning. The way people in this Afro-Caribbean-inspired world socialize, especially around food and drink, felt so rich and true to the culture. As someone familiar with this culture, seeing elements like rum shops featured so prominently was really cool.
The relationships in The Blackheart Man are another highlight. This is a queer-normative world where relationships aren’t confined to the typical structures we often see. Triads are the common marriage structure, and it was refreshing to see relationships that go beyond the usual tropes like fated mates or harems. The representation of different genders and sexual orientations felt natural and accepted within the culture. It was especially interesting to see how these relationships were integrated into the story, making it feel like a truly inclusive world.
Now, let’s talk about pacing. The first 60% of the book feels like it’s setting the stage for what’s to come—laying the foundation for the war, introducing us to Veycosi’s issues with memory loss, and getting us familiar with the political and social dynamics at play. But once the groundwork is laid, the story really starts to pick up. The action towards the end felt appropriately paced, with everything coming together in a way that was both satisfying and exciting.
What I really appreciated was that the character arcs were fully followed through, not just for Veycosi, but for some of the side characters as well. The story wraps up nicely, but the world Hopkinson has created feels so alive and expansive that there’s definitely room for more stories in this universe.
So, to sum it all up, The Blackheart Man by Nalo Hopkinson is a richly immersive, character-driven story set in a world that feels truly otherworldly. It’s a book that challenges you to engage with it, and once you do, it rewards you with a fascinating plot, deep character arcs, and a culture that feels vibrant and real. I’d highly recommend giving it a read, especially if you’re looking for something that offers a bit more depth and diversity than your typical fantasy novel.
A big thank you to Saga Press for providing me with this ARC!
September 21, 2024
Well, it had the makings of a great story, but was it, actually?
While there's lot of good to say about this book (see: top reviews), I actually disliked it—or rather, the experience of reading it. It took me so long to get through because the grammar was so jarring (by design! It's a feature, not a bug!). So I can't even complain properly about that. I can't complain about the MC being an ass either because, yeah, that was the point.
What I can complain about though, is the lack of details on some core concepts while we really linger on bits of meaningless world building, like the food they eat.
And really, a novel that has this many characters and made-up concepts should include a glossary and/or a dramatis personae. Some rando just popped back up for the final battle and turned out to be a massive player in the story, and I couldn't remember if we even had met them before. So, you know. Reading is my hobby, why should I have to work so hard to enjoy it?
While there's lot of good to say about this book (see: top reviews), I actually disliked it—or rather, the experience of reading it. It took me so long to get through because the grammar was so jarring (by design! It's a feature, not a bug!). So I can't even complain properly about that. I can't complain about the MC being an ass either because, yeah, that was the point.
What I can complain about though, is the lack of details on some core concepts while we really linger on bits of meaningless world building, like the food they eat.
And really, a novel that has this many characters and made-up concepts should include a glossary and/or a dramatis personae. Some rando just popped back up for the final battle and turned out to be a massive player in the story, and I couldn't remember if we even had met them before. So, you know. Reading is my hobby, why should I have to work so hard to enjoy it?
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June 23, 2025☆☆ YouTube | Tumblr | Instagram | Storygraph ☆☆
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DNF at 210. I just can’t get into the plot and MC is super frustrating.
~
I think the world building in this book was excellent, but oof, I just could not get connected to the characters or the plot. Veycosi, our main character, isn’t particularly likable and I didn’t really want to root for him because of how Hopkinson made him unlikable. He’s not a bad guy, but God, is he infuriating. I think the most positive feelings I had toward him came from his relationship with his fiancé's daughter. Apart from that, he felt like a pothead who didn’t take anything seriously, nor any responsibility for the trouble he gets himself, and often others, into. He causes so many of his own issues but never accepts that fact and everyone around him just forgives him and moves on.
The world is queer normative, with most marriages consisting of two men and one woman. There wasn’t really any explanation done around why this was their norm so far, but I was intrigued by it, especially since Veycosi’s male partner is a best friend and had never shown any romantic interest toward him, but they both are romantically inclined toward their female partner. Plus it’s mentioned that having external relationships is pretty common and many people accuse Veycosi of developing a romance with another woman, plus he admires numerous other people. Those aspects made it difficult for me to become invested in his personal life or his relationships with his partners, because it didn’t seem like they even mattered that much to *him*, so why should they matter to me?
What we learn of the history in this world was definitely intriguing. So much of their society seems more refined and forward thinking, yet they still have systematic racism and sexism (though it’s sort of flipped from our world’s sexism, where the women are seen as the breadwinners and the men care for the home). I liked that we were seeing some push against this and exploration around how this came about and was changing, but it didn’t feel as important to the story for the amount of page time dedicated to it. Which was kind of an ongoing issue.
I think Hopkinson wrote *so much* about the world, she’d thought out every little detail of the universe she’d created here and took time to explain certain elements to us, but a lot of it ended up seeming pretty pointless in the plot, unfortunately. There was just a lot going on in the plot but somehow nothing was really happening either? I felt like we really were just watching Veycosi live his day to day life while all these exciting or terrifying things were happening around him, but he felt pretty removed from it for being in the middle. There’s the trade war, his troubled romance, the warriors escaping tar, Veycosi’s project to collect stories (the element I enjoyed the most and wish was getting much more attention), there’s his new friendship with a woman pushing against the society’s prejudices, his daughter’s upcoming ascension, the missing children (which I’d only just started to hear about at the halfway point). Way too much going, but nothing was developing fast enough to actually keep me engaged.
At the start of the book, we alternated perspectives between Veycosi, the Blackheart Man, and Androu, a man who left Chynchin and is working for the invading Ymisen, but as the story continues, the other perspectives fell by the wayside so we could spend more time with Veycosi. Such a shame because I’d really have been intrigued to see certain interactions from Androu’s perspective.
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DNF at 210. I just can’t get into the plot and MC is super frustrating.
~
I think the world building in this book was excellent, but oof, I just could not get connected to the characters or the plot. Veycosi, our main character, isn’t particularly likable and I didn’t really want to root for him because of how Hopkinson made him unlikable. He’s not a bad guy, but God, is he infuriating. I think the most positive feelings I had toward him came from his relationship with his fiancé's daughter. Apart from that, he felt like a pothead who didn’t take anything seriously, nor any responsibility for the trouble he gets himself, and often others, into. He causes so many of his own issues but never accepts that fact and everyone around him just forgives him and moves on.
The world is queer normative, with most marriages consisting of two men and one woman. There wasn’t really any explanation done around why this was their norm so far, but I was intrigued by it, especially since Veycosi’s male partner is a best friend and had never shown any romantic interest toward him, but they both are romantically inclined toward their female partner. Plus it’s mentioned that having external relationships is pretty common and many people accuse Veycosi of developing a romance with another woman, plus he admires numerous other people. Those aspects made it difficult for me to become invested in his personal life or his relationships with his partners, because it didn’t seem like they even mattered that much to *him*, so why should they matter to me?
What we learn of the history in this world was definitely intriguing. So much of their society seems more refined and forward thinking, yet they still have systematic racism and sexism (though it’s sort of flipped from our world’s sexism, where the women are seen as the breadwinners and the men care for the home). I liked that we were seeing some push against this and exploration around how this came about and was changing, but it didn’t feel as important to the story for the amount of page time dedicated to it. Which was kind of an ongoing issue.
I think Hopkinson wrote *so much* about the world, she’d thought out every little detail of the universe she’d created here and took time to explain certain elements to us, but a lot of it ended up seeming pretty pointless in the plot, unfortunately. There was just a lot going on in the plot but somehow nothing was really happening either? I felt like we really were just watching Veycosi live his day to day life while all these exciting or terrifying things were happening around him, but he felt pretty removed from it for being in the middle. There’s the trade war, his troubled romance, the warriors escaping tar, Veycosi’s project to collect stories (the element I enjoyed the most and wish was getting much more attention), there’s his new friendship with a woman pushing against the society’s prejudices, his daughter’s upcoming ascension, the missing children (which I’d only just started to hear about at the halfway point). Way too much going, but nothing was developing fast enough to actually keep me engaged.
At the start of the book, we alternated perspectives between Veycosi, the Blackheart Man, and Androu, a man who left Chynchin and is working for the invading Ymisen, but as the story continues, the other perspectives fell by the wayside so we could spend more time with Veycosi. Such a shame because I’d really have been intrigued to see certain interactions from Androu’s perspective.
November 18, 2024
This was an interesting book, but difficult to read. I was able to get past this by reading while listening to the audiobook, which was a big help when trying to understand the dialect that Hopkinson created for this world.
One of my favourite parts of Hopkinson‘s world-building was her creation of the myths of Chynchin. I really enjoyed the way that the world‘s mythology influenced the characters. The myth of the Blackheart Man in particular, reappeared throughout, and was reframed as a ghost story, a derogatory slur, and a metaphor for grief at the loss of a child.
The world offers us a queer normative and multicultural society. There is a standardized gender neutral pronoun and conventional families are comprised of three adults: two husbands, one wife and their children.
Despite seeming like an accepting society, some characters experience systemic racism based on their ancestors’ participation in the colonial war against Chynchin, 200 years prior. Unfortunately, we only have limited conversations with characters from this group, so this perspective is not fully represented.
The main character, Veycosi, is frustrating and irresponsible. His selfishness drives a number of conflicts in the story. He faces consequences, however each one is temporary. He is forgiven again and again, without seeming to change.
Overall, I found this book inspiring as a writer. It provides a fascinating education on world-building and particularly on the creation of mythology.
One of my favourite parts of Hopkinson‘s world-building was her creation of the myths of Chynchin. I really enjoyed the way that the world‘s mythology influenced the characters. The myth of the Blackheart Man in particular, reappeared throughout, and was reframed as a ghost story, a derogatory slur, and a metaphor for grief at the loss of a child.
The world offers us a queer normative and multicultural society. There is a standardized gender neutral pronoun and conventional families are comprised of three adults: two husbands, one wife and their children.
Despite seeming like an accepting society, some characters experience systemic racism based on their ancestors’ participation in the colonial war against Chynchin, 200 years prior. Unfortunately, we only have limited conversations with characters from this group, so this perspective is not fully represented.
The main character, Veycosi, is frustrating and irresponsible. His selfishness drives a number of conflicts in the story. He faces consequences, however each one is temporary. He is forgiven again and again, without seeming to change.
Overall, I found this book inspiring as a writer. It provides a fascinating education on world-building and particularly on the creation of mythology.
August 28, 2024
I enjoyed that we are dropped RIGHT into the action however it made me have a hard time connecting with any of the characters for a while and the multi POVs were confusing but you eventually get the hang of it
Unfortunately I feel like this isn’t MY type of book but I can see it working for a lot of different readers. Each POV does have its own distinct voice which is a plus because I hate getting multi POVs where there’s no reason for it.
We follow Veycosi who historian/musician student on the island of Chynchin and I loved the connection between history and music and how it was the books way of world building.
I would say to pick this up if you are in a fantasy slump and need something different to pull you out!
Thank you to netgalley and saga for the ARC for a review!!
Unfortunately I feel like this isn’t MY type of book but I can see it working for a lot of different readers. Each POV does have its own distinct voice which is a plus because I hate getting multi POVs where there’s no reason for it.
We follow Veycosi who historian/musician student on the island of Chynchin and I loved the connection between history and music and how it was the books way of world building.
I would say to pick this up if you are in a fantasy slump and need something different to pull you out!
Thank you to netgalley and saga for the ARC for a review!!
May 21, 2025
2025 Aurora Awards Nominee
The first page of reviews for Blackheart Man is all positive reviews and I just don't see it.
My husband asked me what Blackheart Man was about when I was at about the 40% mark. I couldn't tell him the plot, which at 40% of the way through is a problem. I started to see glimmers of a plot at the 50% mark, but they faded and became muddled and pointless. Veycosi wasn't working towards anything other than his next one-night stand, his next drink, or his next psychedelic trip. I had no reason to care and no reason to read the next page - I only finished this book because it was an Aurora Awards nominee. I didn't find a reason to care about Veycosi, even after I finished the entire book.
I scrolled through the positive reviews to see what others saw in the book - looking for an aspect that I missed or wasn't to my personal taste. The biggest praise I can see for Blackheart Man is the world building and being queer normative. So much of what I read these days is queer normative that it isn't a life-changing awe-inspiring experience to read something queer normative. It's the lowest bar. The world building was incredibly thorough, but none of it was engaging enough to make up for the lack of plot. Especially at the end, all of the aspects of the world building intertwine, but I couldn't tell you what actually happened in the last three chapters.
I was really looking forward to Blackheart Man, but it just didn't land.
The first page of reviews for Blackheart Man is all positive reviews and I just don't see it.
My husband asked me what Blackheart Man was about when I was at about the 40% mark. I couldn't tell him the plot, which at 40% of the way through is a problem. I started to see glimmers of a plot at the 50% mark, but they faded and became muddled and pointless. Veycosi wasn't working towards anything other than his next one-night stand, his next drink, or his next psychedelic trip. I had no reason to care and no reason to read the next page - I only finished this book because it was an Aurora Awards nominee. I didn't find a reason to care about Veycosi, even after I finished the entire book.
I scrolled through the positive reviews to see what others saw in the book - looking for an aspect that I missed or wasn't to my personal taste. The biggest praise I can see for Blackheart Man is the world building and being queer normative. So much of what I read these days is queer normative that it isn't a life-changing awe-inspiring experience to read something queer normative. It's the lowest bar. The world building was incredibly thorough, but none of it was engaging enough to make up for the lack of plot. Especially at the end, all of the aspects of the world building intertwine, but I couldn't tell you what actually happened in the last three chapters.
I was really looking forward to Blackheart Man, but it just didn't land.
September 25, 2024
The Blackheart Man takes place on the magical island of Chynchin, where the inhabitants, free from their past oppressors, live in a peaceful, inclusive society rich with Caribbean folklore. Hopkinson weaves two major plotlines: the mysterious disappearance of children and the threat of invasion, all seen through the eyes of Veycosi, an aspiring storyteller whose well-intentioned actions often cause more harm than good.
Veycosi’s journey—paired with the invasion of Chynchin—kept me engaged despite his many blunders. His desire to be a hero makes him frustrating, yet compelling. The presence of a chorus of in-story tales adds depth and offers an exploration of how stories shape culture.
Hopkinson excels at creating a world where gender roles and sexuality are fluid, starkly contrasting the rigid patriarchy of the invaders. The bitumen-like substance piche further enriches the story, as it represents both a resource and a threat, deeply connected to the island’s history.
The novel drops readers into the thick of things, requiring close attention to context clues. While the initial immersion can feel disorienting, Hopkinson's world-building is intricate and rewarding. Rather than overwhelming readers with exposition, the nuances of Chynchin’s culture, relationships, and economy unfold naturally, making the world feel alive.
In all, The Blackheart Man is a vibrant, thoughtful novel that blends mythology and culture with unique characters in an unforgettable setting.
Thank you to Saga Press and Netgalley for an advanced reader's copy of BlackHeart Man.
Veycosi’s journey—paired with the invasion of Chynchin—kept me engaged despite his many blunders. His desire to be a hero makes him frustrating, yet compelling. The presence of a chorus of in-story tales adds depth and offers an exploration of how stories shape culture.
Hopkinson excels at creating a world where gender roles and sexuality are fluid, starkly contrasting the rigid patriarchy of the invaders. The bitumen-like substance piche further enriches the story, as it represents both a resource and a threat, deeply connected to the island’s history.
The novel drops readers into the thick of things, requiring close attention to context clues. While the initial immersion can feel disorienting, Hopkinson's world-building is intricate and rewarding. Rather than overwhelming readers with exposition, the nuances of Chynchin’s culture, relationships, and economy unfold naturally, making the world feel alive.
In all, The Blackheart Man is a vibrant, thoughtful novel that blends mythology and culture with unique characters in an unforgettable setting.
Thank you to Saga Press and Netgalley for an advanced reader's copy of BlackHeart Man.
September 20, 2024
Author Nalo Hopkinson sets this magnificent story on the magical island of Chynchin. Years earlier, the inhabitants kicked out their enslavers, and have been living their lives in peace, creating a place of peace, sharing, and diverse genders and sexualities. Hopkinson's world is heavily influenced by Caribbean folktales and myths, and it's not unusual for goddesses to influence events, and unusual, uncanny things to occur.
Hopkinson has two major plot threads in this novel: disappearing children, and invasion. All action is seen through the eyes of her main character Veycosi. He is learning to become one of the island's singer-storytellers, and is looking forward to his upcoming marriage to his two betrothed partners, Thandiwe and Gombey. Thandiwe has a daughter Kaïra.
The novel opens with Veycosi deciding he's going to perform an amazing act to help the town, which unfortunately backfires and harms many. He is also one of the first on the island to see that their former oppressors are nearing Chynchin in their ships. What follows is the invaders attempting to slowly retake the island, and a few, including Veycosi, attempting to thwart them, while more children disappear, including Kaïra.
There is a great deal more that happens, with Veycosi performing many more actions that are often ridiculous, always self-motivated, and which often have deleterious effects. Veycosi is a person who wants to be adored, who wants to be a hero, and he causes more problems than he solves, and has much to make up for by the end of the novel. At the same time, occasionally annoying as he can be, I was taken with him, and completely absorbed in this colourful story which bursts with the fantastic, musical and wondrous.
Hopkinson also examines stories and how they influence and make up culture, and Veycosi as taleteller is integral to his role in the story, and also how the people of Chynchin find a way to deal with their invaders. Incidentally, the in-story tales delight, and added another beautiful layer to this wonderful work.
Thank you to Netgally and to Simon & Schuster Canada for this ARC in exchange for my review.
Hopkinson has two major plot threads in this novel: disappearing children, and invasion. All action is seen through the eyes of her main character Veycosi. He is learning to become one of the island's singer-storytellers, and is looking forward to his upcoming marriage to his two betrothed partners, Thandiwe and Gombey. Thandiwe has a daughter Kaïra.
The novel opens with Veycosi deciding he's going to perform an amazing act to help the town, which unfortunately backfires and harms many. He is also one of the first on the island to see that their former oppressors are nearing Chynchin in their ships. What follows is the invaders attempting to slowly retake the island, and a few, including Veycosi, attempting to thwart them, while more children disappear, including Kaïra.
There is a great deal more that happens, with Veycosi performing many more actions that are often ridiculous, always self-motivated, and which often have deleterious effects. Veycosi is a person who wants to be adored, who wants to be a hero, and he causes more problems than he solves, and has much to make up for by the end of the novel. At the same time, occasionally annoying as he can be, I was taken with him, and completely absorbed in this colourful story which bursts with the fantastic, musical and wondrous.
Hopkinson also examines stories and how they influence and make up culture, and Veycosi as taleteller is integral to his role in the story, and also how the people of Chynchin find a way to deal with their invaders. Incidentally, the in-story tales delight, and added another beautiful layer to this wonderful work.
Thank you to Netgally and to Simon & Schuster Canada for this ARC in exchange for my review.
November 7, 2024
I am so deeply thrilled that Nalo Hopkinson, one of my favourite authors of all time, finally put out a new book after all these years. And it's a spectacular one, up there with "Brown Girl in the Ring" and "The New Moon's Arms." It's the story of a magical Maroon community, invasions both colonial and demonic, and one stoner fuckup who tries to makes things better but can't help tripping over his own ego. And it's all written with Hopkinson's trademark luminous prose. It was well worth the wait.
August 12, 2024
To read a full review check it out here.
This book hits so many boxes for me. The language, the culture, the old camel. It is really wildly cool.
This book hits so many boxes for me. The language, the culture, the old camel. It is really wildly cool.
February 8, 2025
DNF. Eigentlich die Art Buch, die mir normalerweise gefällt, aber in dieses bin ich leider nicht hineingekommen. Der Anfang war sehr stark; aber die Hauptfigur war mir leicht unsympathisch, und dann ging die Handlung viel zu langsam weiter. Aufgegeben nach ca. 25%.
September 17, 2024
Yes, this drops you straight into cant (there is probably a more technical word for the vocabulary of the world that Hopkinson uses but I can't think of it atm, apologies) and expects you to keep up with it, and this will probably put off some people straight away. But stick with it (read it out loud if you can, it will help you), and you will be rewarded with a fucking fantastic ride of a fantasy novel that I hope we see on the end of the year lists. And again, I like that we're getting more and more casual depiction of things like poly triads and non-binary genders and it doesn't make a big deal out of it, it's just there and a natural part of things. Picked this up from the library, and a highly recommended read.
October 4, 2025
Others have already articulated all the wonderful aspects of this book and also its many shortcomings. I would just say that I loved how it never described its world. You just become a part of it and have to experience its world building, magic, and people first hand.
Thats great!!!
But there were soooo many ideas and none of them felt they had the time to *complete* - if that makes sense.
With that said, if this author decides to pay Chynchin another visit this cat will be there for it.
Thats great!!!
But there were soooo many ideas and none of them felt they had the time to *complete* - if that makes sense.
With that said, if this author decides to pay Chynchin another visit this cat will be there for it.
November 14, 2024
I really enjoyed the world and culture-building of this book. It was a 'fairy tale come to life' but one I was completely unfamiliar with and felt so new and fresh!
October 21, 2024
Thank you to Saga Press, an imprint of Simon & Schuster, for the free copy for review.
This book quite literally hit the ground running and never once stalled.
It follows an island of people free from their past oppressors, interrupted by an imminent threat.
I found this book to be filled with rich cultural histories in such a consumable way. In addition to that, sexuality and gender fluidity are normalized in this world which is an added element that I always devour.
Overall, this was one of the more unique (and fast paced) stories I’ve read this year and putting it down was simply not an option.
This book quite literally hit the ground running and never once stalled.
It follows an island of people free from their past oppressors, interrupted by an imminent threat.
I found this book to be filled with rich cultural histories in such a consumable way. In addition to that, sexuality and gender fluidity are normalized in this world which is an added element that I always devour.
Overall, this was one of the more unique (and fast paced) stories I’ve read this year and putting it down was simply not an option.
May 29, 2025
2.5 for a simple story masquerading as a complex one. The world building is STUNNING in so many ways, but the plot moved at an inconsistent rate — no new piece of info had the impact it should have had. Each storyline was too predictable when it needed to be unexpected and too unpredictable when it needed to make sense. The final 30% totally loses the plot and doesn’t answer any of the questions I had hoped to see answered since the initial 30%. I saw a couple reviewers write that they felt guilty for disliking the novel based on a dislike of the protagonist or some other such thing, since it’s part of The Point, but sometimes The Point just sucks. Probably worth a reread, but not for a while
February 16, 2025
4.5 ⭐️
Thank you to Saga Press, an imprint of Simon & Schuster for sending me a copy of this book for review.
Veycosi is the definition of a hot mess, but I loved him. He made plenty of questionable decisions and mistakes but in the end I felt like his heart was always in the right place, he’s just so human and things always went wrong. I’ve never read a book rooted in Caribbean culture and language so this was a fun experience. The folklore in this book was very interesting and the story overall had me hooked from the start.
Thank you to Saga Press, an imprint of Simon & Schuster for sending me a copy of this book for review.
Veycosi is the definition of a hot mess, but I loved him. He made plenty of questionable decisions and mistakes but in the end I felt like his heart was always in the right place, he’s just so human and things always went wrong. I’ve never read a book rooted in Caribbean culture and language so this was a fun experience. The folklore in this book was very interesting and the story overall had me hooked from the start.
August 18, 2024
Nalo Hopkinson's new novel, BLACKHEART MAN, picks up and plays changes on themes from throughout her career. Hopkinson is an important voice in contemporary science fiction and fantasy, and this is her first new novel in a good while.
[WARNING: what follows involves certain unavoidable spoilers; though I have tried to keep them at a minimum, some have to be mentioned because they work as deep premises for the novel as a whole]
We are given an imaginary Caribbean island nation called Chynchin, and a male protagonist, Veycosi, who is smart and interesting but also something of an asshole. The island is a place of magic, but also of hard sociopolitical realities, and the novel is in part about how to negotiate the conflict between harsh actuality and magical transformation.
Chynchin is under threat from a much larger country, Ymisen, that colonized it in the past, was defeated two centuries ago by seemingly magical means, and now is back trying to regain control and economically exploit the island. This political danger or dilemma is largely explored in terms of the novel's vision of society or community; one might call this aspect of the novel "folkloric" -- something that is present in much of Hopkinson's earlier work -- but I fear that the term might sound condescending and underplay the vitality and richness of Hopkinson's inventions, and the ways that they not only draw on Black Caribbean culture, but also work in a science-fictional world-building way).
Things are enrichened by a lovely fluidity of sexualities and of gender roles: the island isn't patriarchal in the ways most actually-existing societies all too often are. Men do not have a monopoly of power in Chynchin, though they seemingly do in the culture of the imperialist invaders. Official marriages are between a woman and two men, and sexual relationships between men and women, as well as between men and men, are common both in these marriages and outside them (non-marital relationships are encouraged rather than seen as transgressive).
We also have important characters who change their sex and gender in the course of the narrative (I say both sex and gender because genitalia themselves change, as well as publicly adopted roles). And we also have some instances of parthenogenesis (women giving birth to genetic clones of themselves). (Though the book only poses the genetic portion of this implicitly, it even asks us to imagine a case in which a woman gives birth to a clone of herself, genetically identical to herself, except having a Y chromosome in place of one of the two Xes).
Another major factor in the story -- something that is entirely natural, but that links up with the supernatural themes -- is the presence on the island of what the inhabitants call piche: this is bitumen (also sometimes called asphalt or tar), a viscous petroleum substance that bubbles out of the ground (as in the La Brea Tar Pits in Los Angeles that I visited a few months ago), and that is both a resource and a danger. The Ymisen invaders two centuries ago were defeated when they were trapped in the piche and swallowed alive. The question hanging over the novel is whether such a thing can happen again.
I don't want to go into the novel's actual plot, because that would involve more spoilers in addition to the structural ones I have mentioned already. I will just say that the story is exciting and engaging, that the politics is entirely interwoven with the gender and sexuality, that the fantastic and the mundane beautifully coexist in the way the everyday life of Chynchin is described, that we get a vision of nature as being both independent of culture and yet unavoidably inflected by, interpreted through, and interfaced with culture, that we get a protagonist (described in a close third person) who is in someways obnoxious but nonetheless redeemable, and that children play important roles in the story in their own right, rather than just being the pawns of adults. In all these ways, Blackheart Man is both a lively and vivid "folkloric" novel, and also at the same time, although without being ostentatious about it, a truly utopian and visionary work.
[WARNING: what follows involves certain unavoidable spoilers; though I have tried to keep them at a minimum, some have to be mentioned because they work as deep premises for the novel as a whole]
We are given an imaginary Caribbean island nation called Chynchin, and a male protagonist, Veycosi, who is smart and interesting but also something of an asshole. The island is a place of magic, but also of hard sociopolitical realities, and the novel is in part about how to negotiate the conflict between harsh actuality and magical transformation.
Chynchin is under threat from a much larger country, Ymisen, that colonized it in the past, was defeated two centuries ago by seemingly magical means, and now is back trying to regain control and economically exploit the island. This political danger or dilemma is largely explored in terms of the novel's vision of society or community; one might call this aspect of the novel "folkloric" -- something that is present in much of Hopkinson's earlier work -- but I fear that the term might sound condescending and underplay the vitality and richness of Hopkinson's inventions, and the ways that they not only draw on Black Caribbean culture, but also work in a science-fictional world-building way).
Things are enrichened by a lovely fluidity of sexualities and of gender roles: the island isn't patriarchal in the ways most actually-existing societies all too often are. Men do not have a monopoly of power in Chynchin, though they seemingly do in the culture of the imperialist invaders. Official marriages are between a woman and two men, and sexual relationships between men and women, as well as between men and men, are common both in these marriages and outside them (non-marital relationships are encouraged rather than seen as transgressive).
We also have important characters who change their sex and gender in the course of the narrative (I say both sex and gender because genitalia themselves change, as well as publicly adopted roles). And we also have some instances of parthenogenesis (women giving birth to genetic clones of themselves). (Though the book only poses the genetic portion of this implicitly, it even asks us to imagine a case in which a woman gives birth to a clone of herself, genetically identical to herself, except having a Y chromosome in place of one of the two Xes).
Another major factor in the story -- something that is entirely natural, but that links up with the supernatural themes -- is the presence on the island of what the inhabitants call piche: this is bitumen (also sometimes called asphalt or tar), a viscous petroleum substance that bubbles out of the ground (as in the La Brea Tar Pits in Los Angeles that I visited a few months ago), and that is both a resource and a danger. The Ymisen invaders two centuries ago were defeated when they were trapped in the piche and swallowed alive. The question hanging over the novel is whether such a thing can happen again.
I don't want to go into the novel's actual plot, because that would involve more spoilers in addition to the structural ones I have mentioned already. I will just say that the story is exciting and engaging, that the politics is entirely interwoven with the gender and sexuality, that the fantastic and the mundane beautifully coexist in the way the everyday life of Chynchin is described, that we get a vision of nature as being both independent of culture and yet unavoidably inflected by, interpreted through, and interfaced with culture, that we get a protagonist (described in a close third person) who is in someways obnoxious but nonetheless redeemable, and that children play important roles in the story in their own right, rather than just being the pawns of adults. In all these ways, Blackheart Man is both a lively and vivid "folkloric" novel, and also at the same time, although without being ostentatious about it, a truly utopian and visionary work.
August 28, 2024
Big thanks to Saga Press and Netgalley for providing me with an advanced copy of Nalo Hopkinson’s new book Blackheart Man. I initially requested this book for a few reasons. The first was reading Hopkinson’s short story “The Most Strongest Obeah woman of the World” in Jordan Peele’s Black horror anthology Out There Screaming. The story stood out for being strange and somewhat like cosmic horror, but also rooted in Jamaican and Caribbean folklore and traditions, while also challenging some of the patriarchal ways and ideas. I really enjoyed the bizarre and creative writing from Hopkinson and grew excited to learn that this book was also titled after the Blackheart Man myth of Jamaica. Reading Hurston’s Tell My Mule about Caribbean myths and folktales, I was really interested in this story that was frequently told to children to regulate their behavior—kind of like a boogeyman. Hopkinson’s book takes this mythological character and reinvents him for a fantastical world of magic—the island of Chynchin. In particular, the story follows Veycosi, a student of history and folklore who must record stories to earn his title as a griot. Hopkinson’s imagining of the world of Chynchin is descriptive and creative, yet also rooted in traditions and folklore of the Caribbean. She incorporates obeah practices, as well as important creatures like hummingbirds and caimans. While the society in Chynchin also bears resemblance to Caribbean cultures, there are also unique touches like the fact that it is a predominantly matriarchal society where women often take two husbands, who share not only the wife, but also the responsibility of raising their children. While the story focuses on Veycosi’s struggles to master magic and folktales, we also learn about some of the problems in Chynchin, especially as more and more children (Pickens) go missing. Eventually some return, but Veycosi seems to be the only one who can command and control them. Furthermore, Chynchin is under attack, where an ancient (or at least older) threat is seeking to be unearthed, possibly returning the island to enslavement. Hopkinson uses the history and culture of Caribbean nations in a unique way, building on what is there to craft her own world and traditions of magic and power. Furthermore, the mystery of the Pickens disappearance and trance-like state becomes a compelling story about Veycosi’s own motivations and challenges to survive and make a name for himself in Chynchin. I really enjoyed the fact that there’s so much of Caribbean culture in this book, but I also found this to be a challenge to reading the story early on. I felt a little lost in the world of Chynchin in the first quarter of the book, adjusting not only to the differences in the culture, but also in the language the characters speak. I eventually grew accustomed to it, in much the same way I also adapted to Marlon James’s A Brief History of Seven Killings and Hurston’s Their Eyes Were Watching God. However, my initial reading was a little slow. I also felt like Hopkinson’s in-cluing of the world of Chynchin left me a little confused early on as well. I think I prefer more world building in these kinds of fantasy works, where I am able to learn more about the history and culture of the place. However, as I read on, Chynchin also became more familiar and relatable. I think the strongest part of the book are the various characters—Veycosi has a lot of unlikeable characteristics, yet, I also found his suffering and challenges to be somewhat harsh. He was entertaining and humorous at times, and there were other funny moments, as well as some shocking and scary moments as well. Other characters served different roles, but were as compelling and interesting. Their language and actions made the story more entertaining and enjoyable. I look forward to reading other books and stories by Hopkinson, and I hope that she revisits Chynchin with some stories that feature other characters.
January 23, 2025
Read this one.
This one took me awhile to get into, but once all the characters were introduced and the various narrative threads established, the plot takes off at a blistering pace and weaves together themes and threads in a fabulous way.
Written in multiple colloquial dialects of English, the story of Veycosi is the type of book you have to surrender to (just a little bit). Hopkinson does this masterfully, though, in a way that gives you the strong sense of reading in a foreign and fantastic culture while also putting you closer to the lives of the characters. It does take a little more work when I read this type of book, which made getting into the story a little slower for me.
Chyncin feels like an amalgamation of so many island nations at the end of the 19th century. I got hooked on this book while visiting Maui for the first time, and couldnt help but mingle my learning about Western influence over the rise of King Kamehameha’s monarchy with the imperialist Ymisen’s influence over Chyncin. But all great political/war stories are told from the perspectives of the individuals impacted by them, and this is no different.
Hopkinson is a masterful world builder. Religion, history, biology, cultural tradition, magic, educational paradigms, social structures, family structures, drugs, sex, parenting, and economic systems are all well developed and impactful on the narrative in meaningful ways. We are exposed to three languages with similar roots, and watch as characters communicate through these across space and time.
Magic is alive in this world, but in a way ive never read before. Tales and folklore mingle with moments of the inexplicable. Saying too much here would spoil it for the new reader, but Ill leave it here saying magic is present in the world in a way ive never read before.
Equally refreshing was the main character Veycosi. His arc of development is fascinating and it was enjoyable to have a skeptical trickster main character who must also wrestle with consequence and grow. Characters all feel well developed and believable, with clear motivations and actions that align.
Ive never thought so much about black tar (piche) in my life before this story, and its use as a central motif is highly effective. I recall my visit to the La Brea Tar pits and museum, of the primordial history that the tar absorbed, and how that wonder at the long lost past might one day be exhumed, discovered. Sticky, useful, combustible, dark and ominous, dangerous, Hopkinson explores all aspects of piche in the story.
I cant wait to read more of Hopkinson’s work. I understand now why she is so often lauded as one of the modern greats. Give this one a go and you wont be disappointed.
This one took me awhile to get into, but once all the characters were introduced and the various narrative threads established, the plot takes off at a blistering pace and weaves together themes and threads in a fabulous way.
Written in multiple colloquial dialects of English, the story of Veycosi is the type of book you have to surrender to (just a little bit). Hopkinson does this masterfully, though, in a way that gives you the strong sense of reading in a foreign and fantastic culture while also putting you closer to the lives of the characters. It does take a little more work when I read this type of book, which made getting into the story a little slower for me.
Chyncin feels like an amalgamation of so many island nations at the end of the 19th century. I got hooked on this book while visiting Maui for the first time, and couldnt help but mingle my learning about Western influence over the rise of King Kamehameha’s monarchy with the imperialist Ymisen’s influence over Chyncin. But all great political/war stories are told from the perspectives of the individuals impacted by them, and this is no different.
Hopkinson is a masterful world builder. Religion, history, biology, cultural tradition, magic, educational paradigms, social structures, family structures, drugs, sex, parenting, and economic systems are all well developed and impactful on the narrative in meaningful ways. We are exposed to three languages with similar roots, and watch as characters communicate through these across space and time.
Magic is alive in this world, but in a way ive never read before. Tales and folklore mingle with moments of the inexplicable. Saying too much here would spoil it for the new reader, but Ill leave it here saying magic is present in the world in a way ive never read before.
Equally refreshing was the main character Veycosi. His arc of development is fascinating and it was enjoyable to have a skeptical trickster main character who must also wrestle with consequence and grow. Characters all feel well developed and believable, with clear motivations and actions that align.
Ive never thought so much about black tar (piche) in my life before this story, and its use as a central motif is highly effective. I recall my visit to the La Brea Tar pits and museum, of the primordial history that the tar absorbed, and how that wonder at the long lost past might one day be exhumed, discovered. Sticky, useful, combustible, dark and ominous, dangerous, Hopkinson explores all aspects of piche in the story.
I cant wait to read more of Hopkinson’s work. I understand now why she is so often lauded as one of the modern greats. Give this one a go and you wont be disappointed.
October 1, 2024
Chynchin is a magical island somewhere in the Caribbean. Having defeated its colonial masters in battle, it has been spared the more egregious legacies of foreign domination. But two centuries later, the colonisers come back, demanding “reparations” for the loss of “their property”.
In the two intervening centuries, Chynchin had evolved into a self-sustaining, more than less, cohesive society. This story is constructed around a “what if” premise. What if the multi-racial population of a colonised Caribbean island had successfully ousted the colonisers early into the colonising project, before colonial values and political structure had taken hold? What if the political culture of that island privileged women over men? What if the socio-political culture favoured First Nations and African descended people over European descended people?
Chynchin is neither a utopia, nor a dystopia. It is a mostly harmonious society, but there is social stratification. The descendants of European settlers are a marginalised community.
For most of the novel, the reader keeps company with Veycosi. He is young and smart; a scholar enrolled in Chynchin's prestigious Colloquium. The fly in the ointment is his ego. He wants to be a hero. He wants accolades - now. His impatience leads him toward high risk ventures that blow up in his face. And everyone else's.
Like many Chynchinians, Veycosi is probably mixed race, but Chynchin's social dynamics places him within the First Nations community, guaranteeing him comforts that come from occupying the apex of the social ladder. Myopia is often a side effect of privilege. Having no reason to doubt the story Chynchin tells itself of its egalitarianism, Veycosi cannot fathom why Chynchinians of European descent feel aggrieved. But that tension is only one facet of this complex, beautifully crafted novel.
A clash with the returning colonisers is inevitable, as is trouble wrought by Veycosi's narcissism. There will be pain and suffering, grief and reckoning, anger and accountability. In the end, there will be justice wrought in blood.
There is much in this novel that is grim, but somehow, this is a work that nurtures. Love is pervasive here, in spite of betrayals, in spite of war. There is love in Nalo Hopkinson’s oblique references to the forced migration of Africans, South Asians and poor European people to these islands; to the Haitian Revolution, to small pockets of First Nations people who are still here in spite of genocide. There is even love in the language of the novel, a Hopkinsonian amalgam of Caribbean Englishes. There especially is love in the final scene, where Veycosi demonstrates that he is determined to become worthy of the love people (including the reader) have invested in him, even when he didn't deserve it.
In the two intervening centuries, Chynchin had evolved into a self-sustaining, more than less, cohesive society. This story is constructed around a “what if” premise. What if the multi-racial population of a colonised Caribbean island had successfully ousted the colonisers early into the colonising project, before colonial values and political structure had taken hold? What if the political culture of that island privileged women over men? What if the socio-political culture favoured First Nations and African descended people over European descended people?
Chynchin is neither a utopia, nor a dystopia. It is a mostly harmonious society, but there is social stratification. The descendants of European settlers are a marginalised community.
For most of the novel, the reader keeps company with Veycosi. He is young and smart; a scholar enrolled in Chynchin's prestigious Colloquium. The fly in the ointment is his ego. He wants to be a hero. He wants accolades - now. His impatience leads him toward high risk ventures that blow up in his face. And everyone else's.
Like many Chynchinians, Veycosi is probably mixed race, but Chynchin's social dynamics places him within the First Nations community, guaranteeing him comforts that come from occupying the apex of the social ladder. Myopia is often a side effect of privilege. Having no reason to doubt the story Chynchin tells itself of its egalitarianism, Veycosi cannot fathom why Chynchinians of European descent feel aggrieved. But that tension is only one facet of this complex, beautifully crafted novel.
A clash with the returning colonisers is inevitable, as is trouble wrought by Veycosi's narcissism. There will be pain and suffering, grief and reckoning, anger and accountability. In the end, there will be justice wrought in blood.
There is much in this novel that is grim, but somehow, this is a work that nurtures. Love is pervasive here, in spite of betrayals, in spite of war. There is love in Nalo Hopkinson’s oblique references to the forced migration of Africans, South Asians and poor European people to these islands; to the Haitian Revolution, to small pockets of First Nations people who are still here in spite of genocide. There is even love in the language of the novel, a Hopkinsonian amalgam of Caribbean Englishes. There especially is love in the final scene, where Veycosi demonstrates that he is determined to become worthy of the love people (including the reader) have invested in him, even when he didn't deserve it.
October 23, 2024
(3.5 ⭐) Blackheart Man is a really rich, folkloric story that had slightly uneven pacing, but a charmingly disastrous main character and a plot that will keep you guessing.
Veycosi will do anything to prove himself worthy - both to the musical historian leadership who will hopefully grant him acceptance to the Colloquium and to his two lovers who will hopefully wed him soon. But his narrow vision and earnest ego get him in trouble again and again.
This time, Veycosi finds his magical island (Chynchin) on the brink of war, pickens (children) start to disappear, and once-frozen soldiers might be coming back to life. He’s somehow got to protect his community and learn some hard truths about himself before everything is destroyed.
You’ll groan at Veycosi time and time again, but I have to say I found him both compelling and impishly likable. He is in dire need of a big arc, and he GETS one. He learns how to be part of a community, how to be a parent, and how to be a romantic partner.
The pacing of this novel was a bit tough. First you’re dropped right in, and I had a challenging time finding the flow of the story since things moved slowly and we were given only the tiniest bits of information and world building. The chapters were incredibly long and the narrators sometimes jumped a bit jarringly before settling into Veycosi’s narration. And then after the climax, everything was so much of a whirlwind that I again wished we had time for more lore; I wanted to savor the events of the finale more.
But this is an incredibly detailed world, with specific and thoughtful language, interesting drops of magic, and even some new creatures. Also lots of queer rep (specifically nonbinary characters with neopronouns and polyamorous triads). Plus one delightfully grumpy camel (love you, Goat!).
If you don’t mind some confusion and a slower-paced narrative, I’d give this one a chance.
CW: death (parent/child), colonization, war, drug use, injury, gun violence, racism, slavery, body horror, fire, gore, animal death, vomit, dysphoria, xenophobia, sexual content
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(I received a free copy of this book; this is my honest review.)
Veycosi will do anything to prove himself worthy - both to the musical historian leadership who will hopefully grant him acceptance to the Colloquium and to his two lovers who will hopefully wed him soon. But his narrow vision and earnest ego get him in trouble again and again.
This time, Veycosi finds his magical island (Chynchin) on the brink of war, pickens (children) start to disappear, and once-frozen soldiers might be coming back to life. He’s somehow got to protect his community and learn some hard truths about himself before everything is destroyed.
You’ll groan at Veycosi time and time again, but I have to say I found him both compelling and impishly likable. He is in dire need of a big arc, and he GETS one. He learns how to be part of a community, how to be a parent, and how to be a romantic partner.
The pacing of this novel was a bit tough. First you’re dropped right in, and I had a challenging time finding the flow of the story since things moved slowly and we were given only the tiniest bits of information and world building. The chapters were incredibly long and the narrators sometimes jumped a bit jarringly before settling into Veycosi’s narration. And then after the climax, everything was so much of a whirlwind that I again wished we had time for more lore; I wanted to savor the events of the finale more.
But this is an incredibly detailed world, with specific and thoughtful language, interesting drops of magic, and even some new creatures. Also lots of queer rep (specifically nonbinary characters with neopronouns and polyamorous triads). Plus one delightfully grumpy camel (love you, Goat!).
If you don’t mind some confusion and a slower-paced narrative, I’d give this one a chance.
CW: death (parent/child), colonization, war, drug use, injury, gun violence, racism, slavery, body horror, fire, gore, animal death, vomit, dysphoria, xenophobia, sexual content
Follow me on social media for book recommendations!
(I received a free copy of this book; this is my honest review.)
December 24, 2024
Okay, this was a tough one. Normally books take me a couple of weeks at most, but this one took me over a month. Part of it was that my lack of understanding of the language really pulled me out of the story repeatedly as I tried to figure out what was being talked about. I previously read/listened to Midnight Robber by this author and I loved that so much more. But the narrator was phenomenal and she really helped me make sense of the language. Unfortunately, I didn't have the option to listen to this one, and as such, I made my way much more slowly through this story. I really do think that listening to a good narrator while reading along would have made this story all the richer. There were many elements of this story that I found interesting, from the conquerors to the racism (both on the island and from the invaders), the romantic triads, and even some of the folklore. However, it was also confusing. There were many times when I wished there had been a glossary and a list of characters that gave a brief explanation of who they were. I think that would have helped a lot.
The other thing about this story was that the main character was kind of a jerk who never seemed to listen to anyone. I think that in the end, he found a measure of redemption and I liked what he did to help his child, but I didn't like many of the choices that he made. I did find the collecting of stories to be interesting and I liked that that was part of his punishment. That it basically forced him to listen to other people was fitting, and while I didn't understand all of the stories, I did enjoy them.
Overall, I think that if there had been a glossary/character list with a brief explanation of relationships, positions, the different jobs, etc., this would have been a more complete experience. Added to that, if I had listened along to a good narrator, I probably would have better understood the language.
I voluntarily read and reviewed an advanced copy of this book from NetGalley and the publisher. All thoughts and opinions are my own.
The other thing about this story was that the main character was kind of a jerk who never seemed to listen to anyone. I think that in the end, he found a measure of redemption and I liked what he did to help his child, but I didn't like many of the choices that he made. I did find the collecting of stories to be interesting and I liked that that was part of his punishment. That it basically forced him to listen to other people was fitting, and while I didn't understand all of the stories, I did enjoy them.
Overall, I think that if there had been a glossary/character list with a brief explanation of relationships, positions, the different jobs, etc., this would have been a more complete experience. Added to that, if I had listened along to a good narrator, I probably would have better understood the language.
I voluntarily read and reviewed an advanced copy of this book from NetGalley and the publisher. All thoughts and opinions are my own.
April 21, 2024
Disclaimer: ARC via Netgalley.
Veycosi has a host of problems and clogged pipes are the smallest. There is the arrival of the Ymisen fleet to the shores of Chynchin, there is the whole question of his marriage, he lost a book by accidentally dropping it into water, and he hopes he hasn’t killed a cullybee.
Mainly, Veycosi is too smart for his own good, and dumb in all the wrong ways.
Veycosi’s island country of Chynchin is both familiar and unfamiliar. Hopkinson draws on history and folklore to create a realistic and well thought out world that is under threat from outside sources of various types. Cosi wants to be someone, he wants to be recognized for his brilliance and intelligence. In many ways, he is a graduate student wanting his university without having fully finished or even taken in his studies.
Yet, Cosi is likable. There is something about him. He is smart, sometimes thoughtless, but his heart is in the right place, and that can go a long way when done correctly in a book.
Cosi finds himself caught in the politics surrounding a potential war as well as a strange happening concerning the pickens (children) of the community.
What Hopkinson does with this set up is examine stories and how stories can spring from yet disremember fact. It is also about how that knowledge of what was is both lost and found within the story. Part of Cosi’s task is to understand and discover the truth or the variants of various tales told on the island. The examination of stories as well as Cosi’s relationship to the folklore of his island is the backbone of the novel, and it is an excellent backbone. It holds the novel even when in the hands of lesser novelist the story might derail.
It never derails.
What you have instead is a novel about storytelling and growth.
Veycosi has a host of problems and clogged pipes are the smallest. There is the arrival of the Ymisen fleet to the shores of Chynchin, there is the whole question of his marriage, he lost a book by accidentally dropping it into water, and he hopes he hasn’t killed a cullybee.
Mainly, Veycosi is too smart for his own good, and dumb in all the wrong ways.
Veycosi’s island country of Chynchin is both familiar and unfamiliar. Hopkinson draws on history and folklore to create a realistic and well thought out world that is under threat from outside sources of various types. Cosi wants to be someone, he wants to be recognized for his brilliance and intelligence. In many ways, he is a graduate student wanting his university without having fully finished or even taken in his studies.
Yet, Cosi is likable. There is something about him. He is smart, sometimes thoughtless, but his heart is in the right place, and that can go a long way when done correctly in a book.
Cosi finds himself caught in the politics surrounding a potential war as well as a strange happening concerning the pickens (children) of the community.
What Hopkinson does with this set up is examine stories and how stories can spring from yet disremember fact. It is also about how that knowledge of what was is both lost and found within the story. Part of Cosi’s task is to understand and discover the truth or the variants of various tales told on the island. The examination of stories as well as Cosi’s relationship to the folklore of his island is the backbone of the novel, and it is an excellent backbone. It holds the novel even when in the hands of lesser novelist the story might derail.
It never derails.
What you have instead is a novel about storytelling and growth.
June 19, 2024
This book was a very different experience for me, but was very enjoyable! There is incredible depth to all of the characters, especially Veycosi, that fills the community with the realism that is needed in this fantasy story.
This book centres around Veycosi, a student historian/musician, who is too sure of his own ideas. While attempting to unblock a cistern drain, he discovers that Ymisen ships have entered the harbour to his island home, Chynchin. Ymisen is the historical enemy of Chynchin, and so Veycosi tries to prove himself to his community with his ideas and inserts himself into the negotiations. Throughout his own adventures, children of the island are disappearing and returning changed, while an ancient army of the last war are coming out of the tar they were imprisoned in by the Chynchin witches. Veycosi is tasked with recording the oral history surrounding the last war and the magic of the island, and starts to discover more about his home island.
This was an interesting book to read. As the island of Chynchin and its mythology is central to tghe characters, the book is written in the Chynchin dialect and many by of the references felt familiar, but also gave it an otherworldly experience. There were times I was wanting more explanation of the slang used, and more of the backstory of the island, but overall this choice made the book feel like you were being dropped into the community in a very real way. I did also find that the start of the book started really well, then dragged for a portion in the middle, but the ending wrapped things up in an enjoyable way.
I was sent an ARC copy of this book by Simon & Schuster, and all opinions are my own. Thank you to Simon & Schuster for the book!
This book centres around Veycosi, a student historian/musician, who is too sure of his own ideas. While attempting to unblock a cistern drain, he discovers that Ymisen ships have entered the harbour to his island home, Chynchin. Ymisen is the historical enemy of Chynchin, and so Veycosi tries to prove himself to his community with his ideas and inserts himself into the negotiations. Throughout his own adventures, children of the island are disappearing and returning changed, while an ancient army of the last war are coming out of the tar they were imprisoned in by the Chynchin witches. Veycosi is tasked with recording the oral history surrounding the last war and the magic of the island, and starts to discover more about his home island.
This was an interesting book to read. As the island of Chynchin and its mythology is central to tghe characters, the book is written in the Chynchin dialect and many by of the references felt familiar, but also gave it an otherworldly experience. There were times I was wanting more explanation of the slang used, and more of the backstory of the island, but overall this choice made the book feel like you were being dropped into the community in a very real way. I did also find that the start of the book started really well, then dragged for a portion in the middle, but the ending wrapped things up in an enjoyable way.
I was sent an ARC copy of this book by Simon & Schuster, and all opinions are my own. Thank you to Simon & Schuster for the book!
December 10, 2024
I picked up this book after reading an interview Nalo Hopkinson gave on worldbuilding and I was not disappointed.
This book has all the hallmarks of a classic fantasy book, but always with a twist. The mystical Caribbean island of Chynchin is richly rendered, complete with fictional words and foods that harken back to the region’s history with competing colonial forces. I also loved the portrayal of magic, which always straddles the line between fantasy and magical realism — in this universe, some magic is metaphors, and some magic is real.
The way Hopkinson has built Chynchin society, and the way they reveal its history and complex layers slowly over the course of the book, creates social commentary about the racial and class dynamics left behind by colonialism — but without reading like theory or a history book. It pairs well with Jamaica Kincaid’s A Small Country, which I read a few months ago.
Finally, I really appreciated Hopkinson’s portrayal of gender and polyamory. This book has romantic plot lines, but not in the way we might expect: Women are not treated as a prize for men who do “the right thing” (often the case in the fantasy genre), and in this society it is normal not only for children to have three parents but also for individuals to have multiple committed relationships. And within this, Hopkinson also questions what it means to be accountable when one has done great harm, and what it means to keep someone in community after they’ve made a mistake. It opens up a lot of questions for me about the consequences of society being structured around the nuclear family in real life.
Overall I’d say this is the kind of book that has something for everyone: Action, love, social commentary, magic, and an endearingly clumsy but good-hearted narrator.
This book has all the hallmarks of a classic fantasy book, but always with a twist. The mystical Caribbean island of Chynchin is richly rendered, complete with fictional words and foods that harken back to the region’s history with competing colonial forces. I also loved the portrayal of magic, which always straddles the line between fantasy and magical realism — in this universe, some magic is metaphors, and some magic is real.
The way Hopkinson has built Chynchin society, and the way they reveal its history and complex layers slowly over the course of the book, creates social commentary about the racial and class dynamics left behind by colonialism — but without reading like theory or a history book. It pairs well with Jamaica Kincaid’s A Small Country, which I read a few months ago.
Finally, I really appreciated Hopkinson’s portrayal of gender and polyamory. This book has romantic plot lines, but not in the way we might expect: Women are not treated as a prize for men who do “the right thing” (often the case in the fantasy genre), and in this society it is normal not only for children to have three parents but also for individuals to have multiple committed relationships. And within this, Hopkinson also questions what it means to be accountable when one has done great harm, and what it means to keep someone in community after they’ve made a mistake. It opens up a lot of questions for me about the consequences of society being structured around the nuclear family in real life.
Overall I’d say this is the kind of book that has something for everyone: Action, love, social commentary, magic, and an endearingly clumsy but good-hearted narrator.
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