My Plot Bunnies Run Loose

This is a submission for the September 2019 Carnival of Aros “Aromanticism and Fiction”.

I’ve written about aromanticism and fiction multiple times on this blog before. Here are some examples (with the caveat that these posts are 2-7 years old and may not reflect my current views):

“WHAT THE HELL: An Aromantic (Moi) Thinks There Aren’t Enough (Villainous) Alloromantic Characters in Fiction”
The Valley of Life and Death: An Wuxia Novel with a Female Protagonist who May Be Aro-Ace
An Aromantic Reads Wuxia
Female Characters – Without the Romance
An Aromantic Reader and Fictional Romances
Aces Become Sex Gurus; Aromantics Become Romance Gurus; (& Bonus Mini-Linkspam)

Almost all of the above posts – and any other posts I’ve written about aromanticism in fiction – have been written as a reader/critic. I suppose that since I have written fanfic with aromantic themes, I could write from that perspective instead, but I don’t feel like it right now.

Therefore, for this post, I am going to RELEASE SOME PLOT BUNNIES! Continue reading


Caught by Alaska Politics, Part 2

In Part 1 I narrated the story of how I got stranded in Ketchikan, Alaska, due to a labor union strike. In this post, I’m going to try to start tracing the events which led up to the labor union strike.

I’m hesitant to write this part because I have barely looked at the financial information of the State of Alaska. I have not even skimmed the CAFR or the financial statements! However, even though I am sure that looking at the CAFR would give me a much more in-depth understanding of the financial position of the Alaska state government, I think it’s sufficient to understand it at the same level as the average Alaska resident, who also has not looked at the CAFR.

This website gives a good overview of where the Alaska state government gets its funding. Basically, the state government gets funding from three sources: oil, federal funds, and earnings from investment of oil money. How much money the government gets from oil is a function of how much oil is extracted and how much that oil is worth. Oil production is in decline. And in recent years, the price of oil has also gone down. And no, the federal government has not come forth and showered Alaska with new federal funding, nor has investments performed spectacularly better than in previous years. That means the State of Alaska has been bringing in much less revenue in recent years.

To make things a little more complicated, since 1982, the state government has given all Alaska residents a dividend on the earnings of the Permanent Fund (the investment fund), known as the Permanent Fund Dividend (PFD). There is a specific formula which determines how much dividend is distributed to the residents of Alaska. This is an extremely popular program in Alaska.

But with oil revenues in decline, and without any increase in federal funding or investment earnings, one of the following has to happen:

1) cut in government services (which also often leads to a decrease in federal funding, since much federal funding requires matching funds from the state)
2) reduced dividend payout
3) raising taxes Continue reading

Bedsharing, without Sex or Romance : Chen Changsheng and Mo Yu in Way of Choices

Mo Yu and Chen Changsheng in Fighter of the Destiny, which is the live action TV adaptation of Way of Choices

There are many things I love in the novel Way of Choices (it’s my favorite novel that I read in 2018). One of them is the relationship between Chen Changsheng and Mo Yu. And one of the things I love about the relationship is that they are a young man and a young woman who are not genetically related yet share a bed – without ever having sex or even being interested in having sex with each other.

What genre is this novel?


Whatever the heck that is.

If you want a clue, you could watch the opening theme song to the live action adaptation (even though it’s not faithful to the novel).

Chen Changsheng is a naive, idealist, honest, wholesome, bookwormish, and gentle teenager with a terminal illness, and Mo Yu is a conniving, cynical, physically strong, and ruthless government official who is primarily concerned with maintaining her (high) level of political power. Nobody would expect these two to become friends – and this is before we get to the fact that Mo Yu wants Chen Changsheng to die (or at least be imprisoned or exiled).

And yet, in spite of the above, they come to share a bed. Continue reading

Burning Out as a Critic of Ace Fiction

This is for the December 2018 Carnival of Aces “Burnout”.

As some of you know, I went on a 6-12 month binge on ace fiction / ace fiction reviewing / commenting on ace fiction, and you can find those posts by checking out my ‘asexual fiction’ and ‘ace fiction’ tags (no, I am not good at keeping my tags consistent), and it culminated in me writing a bunch of posts for The Asexual Agenda’s Ace Tropes series.

I never expected to keep that all up indefinitely, in fact I am surprised that I kept that up for as long as I did. Before I did a lot of ace fiction criticism, Ace Reads reviewed a lot of ace fiction books, and I got started around the time Agent Aletha burned out. Now, I’m in a position where I can relate to parts of this post about not reviewing so many ace books anymore. I particular, I really relate to this part: “I haven’t even been reading many ace books because I’m not in the mood for romance stories and that is so much of what’s available”. Continue reading

The Disunited Plot of Demi-Gods and Semi-Devils (Part 2)

Zhong Ling (He Meitian) and Duan Yu (Benny Chan) are buried alive in Demi-Gods and Semi-Devils 1997

In Part 1, I described the disunity of the plot of Demi-Gods and Semi-Devils (TLBB). This has not stopped it from being one of the most popular Chinese novels of the 20th century. So does the disunity of the plot help or hinder readers from liking the story?

First of all, even though the story lacks plot unity, it does have thematic unity. To quote Wikipedia:

The main thematic element of the novel concerns the complex, troubled relationships between the great multitude of characters from various empires and martial arts sects, and the inherent bond that underlies the struggles of each. The novel examines the cause and effect that forms and breaks these bonds on five uniquely corresponding levels: self, family, society, ethnic group, and country (dominion).

A lot of Duan Yu, Qiao Feng, and Xuzhu’s stories are about forming and breaking various sorts of bonds (one could say that Duan Yu’s romantic entanglements with his sisters form and break bonds simultaneously). Perhaps plot unity does not matter as long as there is thematic unity.

Gao Hu as Xuzhu in Demi-Gods and Semi-Devils 2003

That description from Wikipedia seems to characterize TLBB as being a literary novel. And sure, it’s totally possible to interpret TLBB in a literary way. It’s also possible to interpret TLBB as a lurid pulp novel full of violence and sadism, all designed to shock yet entice the reader. A lot of it reads like a tabloid. Perhaps when there is enough titillating content to sustain interest (assuming that the reader hasn’t dropped the book in horror), readers care less about plot unity.

It is also possible to interpret TLBB as a comedy, which is how I personally view it (yes, there is a sick streak in my sense of humor). (I would rather not watch the TV adaptations of TLBB with other people because I don’t want them to see me laugh at, say, a woman who kidnaps children and kills them). (There is so much gratuitous horribleness in TLBB that if I didn’t laugh at it, I might be the one to drop the book in horror).

However, those are all possibilities for how TLBB might succeed in spite of plot disunity. Does the plot disunity increase the appeal of the story in any way? Maybe.

Liu Yifei as Wang Yuyan in Demi-Gods and Semi-Devils 2003

Tobias recommends limiting the number of main characters. Jin Yong totally ignores this guideline; someone tried to count the number of characters in TLBB and found there were over 200. Most of those are minor characters, but there are still plenty of main characters other than Duan Yu / Qiao Feng / Xuzhu, as well as many supporting characters who play a pivotal role at some point. In fact, those of you who understand Chinese know that the number ‘eight’ appears in the Chinese title of the story. That refers to the eight main characters, who each supposedly represent a type of Deva or Naga, just as each of the seven main characters in Seven Ways We Lie represents one of the seven deadly sins of Catholicism. Tobias says that too many main characters is bad because it’s not possible to develop enough of the connections between them. Well, maybe a 200-page novel can’t forge enough connections between eight main characters (though honestly, Seven Ways We Lie is about 300 pages long yet did a decent job with seven main characters), but TLBB is more than two thousand pages long.

There is a lot of overlap in the cast of characters between the three stories (for example, Duan Yu, Qiao Feng, and Xuzhu are all supporting characters in each others’ stories). Thus, by having three stories in the same novel, the novel can use a large cast of characters more effectively than if it were split into three novels. When, say, supporting characters from Duan Yu’s story appears in Qiao Feng’s story, there is no need to establish who they are, the readers already know them.

Sharon Yeung as Mu Wanqing and Kent Tong as Duan Yu in Demi-Gods and Semi-Devils 1982

It is satisfying to see how the seemingly separate stories of the three protagonists connect with each other. The family trees get pretty convoluted, not to mention all of the love polygons, or the student-teacher relationships, or the … friendship polygons? Is that a thing? Each time I revisit the story, I uncover some interesting relationship which escaped my notice before, which increases the re-readability/re-watchability of the story.

The disunity also makes it much easier to stash Chekhov’s Guns. A Chekhov’s Gun which is displayed in Xuzhu’s story might end up firing in Duan Yu’s story.

And the three stories help balance each other out.

Duan Yu and Xuzhu’s stories are… I hesitate to use the word ‘light’ considering some of the things which happen, but they are… ‘amusing’? For example, Duan Yu’s potentially incestuous relationships are generally treated in a tongue-in-cheek manner, not as something unspeakably horrible. If Duan Yu and Xuzhu’s stories were separated out into separate stories, they would be among Jin Yong’s ‘lighter’ novels, like Ode to Gallantry.

Felix Wong as Qiao Feng in one of the few parts of Demi-Gods and Semi-Devils 1997 where Qiao Feng is actually happy.

By contrast, Qiao Feng’s story is a real downer. One bad thing happens to him, then something worse happens to him, usually something he neither deserves nor has much control over. There are a few points where things seem to get better for him, and he starts feeling hopeful – which means his hopes can totally be dashed again. Even though he shares the novel with Duan Yu and Xuzhu, TLBB is still the most tragic (or tragicomic) of Jin Yong’s novels because Qiao Feng is in it, and if his story was placed in a separate novel, it would be too much. I wouldn’t want to read that novel.

(Actually, I don’t think I would like Xuzhu’s story as a separate novel either, but that’s mainly because I don’t care for stories about celibate vegetarian teetotalers being coerced into drinking alcohol, eating meat, and having sex).

Duan Yu and Xuzhu’s stories are lacking in gravitas, while Qiao Feng has too much, so it evens out. One can see this in the casting decisions for the TV adaptations. Generally, the directors/producers will choose actors with pretty faces to play Duan Yu and Xuzhu, whereas an actor who has prestige for his acting ability will be cast as Qiao Feng. The classic example of this is Felix Wong – in 1982, when he was mainly seen as a young actor with a cute face, he was cast as Xuzhu. In 1997, when he was known as one of Hong Kong’s most respected actors, he was cast as Qiao Feng.

Felix Wong as Xuzhu in Demi-Gods and Semi-Devils 1982

It looks like my view is ‘disunity helps rather than hinders the plot of TLBB’. But this may be more of an exception to Tobias’ guidelines rather than a refutation. After all, even in really long novels (which I am familiar with), this type of plot disunity is not the norm, and it’s usually spit in two rather than three parallel storylines (Tolstoy’s War and Peace, with the dual protagonists Prince Andrei Bolkonsky / Pierre Bezukhov, and Anna Karenina, with Anna Karenina / Kostya Lëvin, come to mind). I think that, even in a really long novel, a disunited plot is probably more difficult to use successfully than a united plot.

The Disunited Plot of Demi-Gods and Semi-Devils (Part 1)

The copy of Demi-Gods and Semi-Devils which I read in Taiwan looked exactly like this. You can see that this edition is 10 volumes long.

A couple of weeks ago, I mentioned that the book 20 Master Plots by Ronald B. Tobias claims that any story plot can be summarized by a single question. This is certainly true of many stories, perhaps most stories, but the very first counterexample which came to mind was Jin Yong’s novel Demi-Gods and Semi-Devils (Tiān Lóng Bā Bù, from now on abbreviated as TLBB). I cannot think of any question which can summarize the whole plot, except for vague questions such as ‘will the protagonists find their place in the world?’ or ‘what perverse nonsense will happen next?’ which are so vague that they tell you little about the story (honestly, I think the latter question is the more informative one). Contrast that to a specific question like ‘will Othello believe that Iago is telling the truth about his wife?’ which is what Tobias claims is the central question of Othello. And forget about “>Tobias’ plot patterns. Even Way Of Choices can be classified as having an ‘Underdog’ plot with lots of plot arcs nested within it, including a huge ‘Quest’ plot – I don’t think it’s possible to claim that TLBB has a single dominant plot pattern.

[General spoiler warning: this post will contain some spoilers for Demi-gods and Semi-Devils. I’ve edited out the huge spoilers, but this ain’t going to be spoiler-free]

Jimmy Lin as Duan Yu in Demi-Gods and Semi-Devils 2003

Every summary I’ve seen of TLBB is split into three parts, one part for each protagonist (Duan Yu, Qiao Feng, and Xuzhu). That is because it is very difficult to come up with a coherent plot summary without treating each protagonist separately. In fact, by the guidelines set out by Tobias, TLBB actually has three different plots (Tobias does not recommend having multiple plots in a single work of fiction).

Can I come up with a single question to summarize each protagonist’s story? Maybe.

I’m still not sure I can come up with a better question to sum up Duan Yu’s story than ‘what perverse nonsense will happen next?’ I mean, I suppose ‘who will Duan Yu marry and will he return home?’ covers most of his plot, but since that’s actually two questions I do not feel like that counts. And maybe instead of ‘who will Duan Yu marry?’ the question should be ‘will Duan Yu end up in an incestuous relationship with one of his sisters?’ because that is the point which is more interesting to many readers. Maybe the question is ‘will Duan Yu manage to come home without shaming his family by having incestuous relations with his sisters?’

Does Duan Yu’s story fit into one of Tobias’ plot patterns? One could argue that it is an example of a ‘Maturation’ plot, but in my opinion it best fits the ‘Adventure’ pattern. Yes, Duan Yu does mature during the course of the story. He starts out as a happy-go-lucky, pacifist, naive, spoiled prince, and by the end he’s not even a prince anymore. But that is not the main focus of his plot. When I talk to people about TLBB, they don’t talk about how Duan Yu’s character changes, they talk about all of the wild shit that goes down during his travels. You can get a pretty good sense of what his travels are like just by looking at how his story begins – this is how it is portrayed in the TLBB 2003 (w/ Eng subs) (it’s much funnier in TLBB 1997 but there are no English subs).

Bryan Leung as Qiao Feng in Demi-Gods and Semi-Devils 1982.

I find it much easier to sum up Qiao Feng’s plot in a single question “Will Qiao Feng find his place among the Song Chinese people or among the Khitan people?” He considers himself to be Song Chinese and loyal to Song China, yet they exile him and try to kill him (partially because they believe he committed some murders). The Khitan people of the Liao empire accept him, but they are at war with Song China, and being loyal to Liao empire would mean hurting the [Song Chinese] people he swore to protect.

Does Qiao Feng’s story fit into one of Tobias’ plot patterns? I think an argument could be made for ‘Quest’ or ‘Discovery’ since Qiao Feng seeks the truth about the past and present, and he seeks where he belongs (I lean towards ‘Discovery’ since Qiao Feng wants information more than he wants to change his life). He wants to know about his parents, and he also wants to find the real culprit behind the murders that he is accused of committing. (And no, even though Qiao Feng has some murders to ‘solve’, this is not a ‘Riddle’ plot because, when he learns who the real murderer is, it does not solve his problems at all).

Louis Fan as Xuzhu in Demi-Gods and Semi-Devils 1997.

And then there is Xuzhu and his story. The basic question for his plot, I think is ‘will Xuzhu ever go back to living as a monk?’ Or rather ‘how will Xuzhu adjust to the end of his monastic life?’ since at some point the reader figures out that he is never going back. He wants to be a monk, but he keeps on being coerced to break his monastic vows (yes, that is a picture of Xuzhu in this old post of mine). Even though he does not break his vows of entirely of his own free will, other characters consider them just as broken as if he had willfully made those choices. I think his story has what Tobias would call a ‘Transformation’ plot.

Those of you who are familiar with the story may be wondering why I’m not classifying Duan Yu and Xuzhu’s stories as ‘Discovery’ plots. The answer is simple: Qiao Feng knows early on his story that he has some mysteries to solve. By contrast, Duan Yu and Xuzhu are completely oblivious to the skeletons in their families’ closets (well, Duan Yu isn’t completely oblivious, he just does not know enough to be concerned), so their plots aren’t about them seeking the truth. When they do learn The Horrible Truth, it hits them like anvils falling from the sky – they had no idea what was coming.

I think it is pretty clear that TLBB does not have a unified plot, at least not in a way that Tobias would recognize. It cannot be summed up by a single question (unless that question is uselessly vague), nor can it be said to fit any single dominant plot pattern. Heck, one could split up Duan Yu, Qiao Feng, and Xuzhu’s stories, write them up as separate novels, and they would work at standalones (and come a lot closer to following Tobias’ guidelines for creating plots).

Yet does TLBB fail because of its disunited plot?

Every reader has their own opinion, but in terms of popularity, it is extremely successful. It is one of the most popular and widely read novels of the 20th century, and has been adapted for TV five times (and at least three of those adaptations were very popular), which is to say nothing of the other adaptations. I have also met quite a few people who say that TLBB is one of their favorite novels.

Does this story appeal to so many people in spite of its disunited plot… or because of its disunited plot? That is the question I will address in Part 2.

Review: Let’s Talk About Love by Claire Kann

The book cover of Let's Talk About Love by Claire Kann

Sara, it’s been forever since you’ve written a review of an ace fiction book.

It took me a while to feel like writing one again. Also, I had to start reading ace fiction books again to write more reviews.

What is this novel about?

Alice, a nineteen year old college student, is dumped by her girlfriend/dorm-mate Margot because Margot feels that Alice does not want to have sex with her (which is true, Alice was only consenting to sex with Margot to preserve their relationship). Alice knows she is asexual, but stays in the closet, and the way Margot dumped her reinforces her conviction not to tell people she’s ace. Then she meets her new co-worker, Takumi, and Alice has very strong feelings about him as soon as he meet him. Might some of those feelings be sexual attraction? Since Alice has definitely never experienced sexual attraction before, she does not know what the hell sexual attraction is supposed to feel like, how would she know? Meanwhile, her best friends, Feenie and Ryan, are going to get married, and Alice fears that as they become more of a couple they are pushing her away. And on top of all that, Alice’s parents and sister are pressuring her to declare her major and prepare to go to law school as soon as she finishes undergrad, and Alice totally does not want to do that.

What sexual and/or violent content is there in this novel?

There is no on-page sex. There is discussion of Alice’s sexual history, and later a bit of Takumi’s sexual history, as well as references to Feenie and Ryan’s (off-page) sex life. A stranger sexually harasses Alice. There is little in the way of physical violence, but quite a bit of emotional violence.

Tell me more about this novel.

The novel has a particular writing style/tone. I’m not sure how to describe it, so I’ll just spam you with quotes:

Alice had had her first creepy moment, crowning herself the creepiest Creepy McCreeperton in existence.

Was it really anyone’s business that Alice didn’t feel sexual attraction when the rest of the world did? It was Alice’s secret. She could guard it like Smaug hoarding gold if she wanted to.

Willy Wonka could wrap her in plastic, market her, and sell her as a limited edition fool-flavored candy.

He grinned, but was also wringing his hands. “But that’s not all it is, right? You like me as a person, too?”
It took everything Alice had not to laugh at the universe’s perverse sense of humor. Her Personal Living God of Confusing Attraction, Takumi, wanted to know if she, Asexual Alice, liked him as a person.

You might want to strap in for this ride I like to call Not Black Enough to Be the Black Sheep of Black Excellence.

I’m on that rapid weight-loss diet called Starvation Because I Spent My Last Six Dollars on Laundry.

Throughout the book, I was struck by how much Alice is unlike me. It was like being immersed in the head of someone who has a very different worldview. It meant I did not get the ‘this so represents me’ feeling, on the other hand it was interesting, and was a reminder that not everybody thinks like me. For example, Alice doesn’t like exercise and loves sitting on the couch and binge-watching TV shows. I love going on walks and hikes, and while I can enjoy watching TV for a hour to an hour-and-a-half, beyond that I will get restless (unless I am physically ill).

Sara, I think you are like Alice in that you like to write essays about TV shows.

That was years ago.

Oh really?

Okay, fine, I still write essays about TV shows once in a while.

And you also like to eat [vegan] ice cream in winter, and you also don’t like jogging.

Hey, I’m not saying I’m completely unlike Alice. After all, we’re both female aces living in California.

And the fact that I get such a clear sense of who Alice is so that it is so easy for me to compare her to myself demonstrates that she is a very vividly written character.

The main plot seemed to be about Alice’s developing relationship with Takumi. While I was interested in Alice sorting out her feelings and whether or not she was experiencing sexual attraction, that was only in focus in the first part of the novel, and I was not so terribly interested in Alice’s actual relationship with Takumi. There was a sub-plot about Alice’s relationship with Feenie and Ryan, which was potentially much more interesting to me, except it was not fully developed. I think I would have found this story much more interesting if Alice’s relationship with Feenie and Ryan had been the main plot, and her relationship with Takumi had been the sub-plot.


On the asexuality content scale (1 = least asexual content, 10 = most asexual content), I would rate this as an 8.

Alice’s experience with asexuality is very different from mine. That means I did not read this and think ‘aha, this is exactly how I feel as an ace!’ on the other hand it gave me a glimpse of a different way of experiencing asexuality. One obvious difference is that I’m aromantic and Alice is very biromantic. She has also previously had sex (though early in the novel she has decided to stop having sex) largely due to social pressure, whereas I have never had sex nor experienced direct pressure to have sex (I have experienced indirect pressure to have sex – such as pressure to go get a boyfriend – but I’ve never experienced a direct pressure to have sex, such as the way Margot pressured Alice).

Furthermore, though I experience aesthetic attraction, I don’t experience it nearly as strongly as Alice, or maybe it’s just not as personally important to me as it is the Alice.

Does the book make it clear that not all aces are like Alice i.e. that aromantic aces exist, that not all aces experience aesthetic attraction, some aces don’t like kissing, etc.?

The book vaguely mentions that not all aces are like Alice, and IIRC it briefly mentions that not all aces experience aesthetic attraction (or was that kissing), but nowhere does it state that aromantic aces exist.

That sucks, it’s bad ace rep if the book does not mention that some aces are not as into romance as Alice is.

You know what, I disagree with you. No, this novel does not acknowledge aromanticism, but I don’t think it’s on Alice and her story to represent all aces.

I’m not saying Alice needs to represent all aces, that’s impossible, I’m just saying it’s harmful if the book does not make it clear that not all aces want romance like Alice does. How hard would it be for the writer to add JUST A COUPLE SENTENCES which acknowledge that some aces are very different from Alice when it comes to romance and kissing and aesthetic attraction?

*sigh* I don’t think this book is obligated to do that. If this book existed in an environment where aromanticism were a widely known phenomenon, would you be complaining?

No, but that’s a hypothetical situation, this book might be the first time a reader is exposed to human asexuality, what if an aro ace who dislikes kissing who never had contact with the ace community read this book, maybe they would conclude they were not really ace because Alice is really into romance and kissing and they are not?

Again, I don’t think it’s fair to put that type of educational burden on a single book. The solution is to get more aromanticism in fiction, not to force every novel with an ace protagonist to do a full Asexuality 101. Especially since that gets tiresome for ace readers who have been through a lot of Asexuality 101.

I don’t think we’re going to come to an agreement on this. Let’s move on.

I really liked the part where Alice was processing and analyzing and hair-splitting her feelings towards Takumi to figure out if maybe it was sexual attraction. That was a very ace experience. Here’s a little tidbit of that:

“So when I saw Tak- I mean, the person, I thought [it was sexual attraction] at first. They were just exceptionally cute, but then I got really hot and was having trouble thinking and there was action happening down there and I’m confused about stuff now.”

“Did you want to have sex with this person?”

“I don’t know. Maybe.” She sighed. No point in holding back now. “I’m still figuring out how that’s supposed to feel.”

“Allow me to rephrase: Did you explicitly think of sexual activity in response to seeing this person?”

“No. I mean, it wasn’t like I wanted to take him to the supply closet for quickie or something.”

“What about now? Would you like to have sex with them?”

“I haven’t thought about it,” she said.

This story is definitely an example of the “When Do I Tell Them I’m Ace” trope, since much of the tension in Alice and Takumi’s relationship is driven by Alice’s hesitation to tell Takumi that she is ace. I this this bit sums up her attitude:

“Last we spoke,” he began, “you were experiencing some anxiety and uncertainty regarding your sexuality.”

“Yeah, that’s still happening. Sort of. But not really … It’s like, my problem is everyone else. I’m not ashamed or uncertain or whatever. I’m ace. It’s cool. I just don’t want to be anybody’s poster child. I’m not made for the front lines. I’ll wither and cry under pressure, so it’s better if I keep it to myself for now.”

There is so much ace content in this novel that I cannot address all of it in this review, but I think I have succeeded in giving a general sense of how asexuality is depicted in this story.

Was this written by an ace?

I don’t know.

Sara, do you like this novel?

I guess? I enjoyed reading it. I appreciate that it explores some ace experiences, and it was good for me in the sense that it is not the kind of thing I would choose to read often, so it breaks up my reading habits. However, if it were not for my interest is seeing how asexuality is presented in fiction, this would not have been my cup of tea.

LOL, Sara, we all know that your cup of tea is a really long sword opera written in Chinese, like that one you mentioned in last week’s post.

Hey, I don’t like all long sword operas written in Chinese, and there are other types of novels which are my cup of tea, such as Vanity Fair by William Makepeace Thackeray. And that novel was not just about swords, in fact swords didn’t become a major element in the story until more than a thousand pages into the book.

*rolls eyes* Sure, Sara.