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Yarn (2010)

by Jon Armstrong

Other authors: See the other authors section.

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1034266,535 (3.63)1
In the near-future in a world ruled by fashion and consumerism, master tailor Tane Cedar is commissioned to create a coat out of illegal yarn in one day for his former lover Vada, a fugitive revoluationary who appears to be near death.
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Showing 4 of 4
I ended up liking it a lot more than I thought I would at beginning. The world is well textured, and the use of sewing and fashion words for other uses was truly inspired. The whole book seemed sewn of the same glittering cloth. ( )
  VLarkinAnderson | Sep 22, 2018 |
(Re-posted from http://theturnedbrain.blogspot.com)

Normally when I’m about to review a book I’ll stare at the screen for a moment and reflect on the plot and characters, and what worked for me and what didn’t. Yeah, that’s pretty much impossible with Yarn. Whenever I think about this book my brain gets bombarded with neon colours and techno music. So I guess you could say that the book made a strong impression, but it’s all rather bewildering.

Bewildering is a good word to describe Yarn. Armstrong doesn’t give the reader even a second to get acclimatized to his setting, it’s BAM! GO from page one. The book is set on what I’m pretty sure is Earth, but way way way in the future. Fashion has become the driving force of everything, and huge cities have been built in the pursuit of it. Top fashion designers are rule like monarchs, and followers of differing styles happily murder each other in the streets. Written out like that it sounds a little ridiculous, but Armstrong flings it all at you with in such a frantic, adrenaline fueled way that you find your self just going with it. There’s no time to stop and think, and it results in an impressively immersive reading experience.

Armstrong labels it fashionpunk, and as much as it bugs me to see the suffix ‘punk’ tacked on to everything, it fits. Fashion is as integral to this world as steam engines are to steam punk, or computers to cyberpunk. Actually, I would say that Armstrong embraces it more fully than many authors do in their respective ‘punk’ genres. It’s most obvious in the book’s slang, which is extensive and fashion related. (Fashioning in place of fucking is one that tickled me for some reason). Armstrong offers no help in deciphering what the hell everyone is saying, and it’s not until quite a ways in that you start getting the hang of the vernacular.

The only thing that stops it from being just too much to deal with is the fact that the main character, Tane Ceder, is as much of an outside as we are. He's just as dumbstuck as the reader, so you feel as though you are least not alone in your confusion. It's an effective technique that stopped me from giving up in the book's early chapters. The book jumps between two time periods, the present in which Tane has become a major designer, and the past wherein Tane, who grew up tending corn, comes to the city for the first time.

The plot is interesting, and manages to not get overwhelmed by the frenetic setting. Actually, the plot is pretty complicated as well. I’ve sitting here for a while trying to sum it up and I just can’t. There are all these seemingly disparate threads (ha, threads, see what I did there?) that come together neatly (and awesomely) at the end. There’s the murder Tane witnesses. There’s conspiracy theories and assassination attempts. There’s the mysterious death of Tane’s father, and what the faceless corporation that owns the sinister cornfields he grew up in has to do with it. There’s the hunt for a banned type of wool which works as a powerful drug. There are gang wars between rival fashion houses. And there’s a love interest, of course, and an adventure in an air balloon made of some fantastic material.

Really, there’s a whole lot of everything. Reading this book was like chugging three cans of red bull and going white water rafting while looking through a kaleidoscope.

Truly insane. And also pretty damn brilliant. ( )
  MeganDawn | Jan 18, 2016 |
I want to call this book cyberpunk but there isn't much in the way of cyber; probably better to call it fiberpunk. ( )
  eaterofwords | Nov 16, 2014 |
Overall Satisfaction: ★★★
Intellectual Satisfaction: ★★★1/2
Emotional Satisfaction: ★★1/2
Read this for: The world-building
Don't read this for: The characters
Books I was reminded of: Light, by M. John Harrison
Will I read more by this author? Probably not

This was not, ultimately, a book for me.

I say that right off the bat because I want to be clear that even though this will be a largely negative review, I am not saying it is a bad book. There are some flaws, but I am sure that if I were the book's target audience I would have loved it.

I must say next, though, that I am very good at keeping an open mind while reading, so I think my criticisms are fair criticisms of the book, things that objectively could have been done better to make a more well-rounded reading experience.

First off, this is very much a cyberpunk novel, which means it has all the strengths and failings of that subgenre. . .

Read the rest of the spoiler-free review here. ( )
  PhoenixFalls | Mar 10, 2011 |
Showing 4 of 4
Yarn, Jon Armstrong's follow-up to Grey, where the author's zany futuristic world of hyper-commercialism takes place, is a novel that excels for its ideas and concepts, more so than the story itself.
added by PhoenixFalls | editSF Signal, Andrew Liptak (Apr 18, 2011)
 
In its brocade heart, Jon Armstrong’s Yarn is an archetypical tale of a boy who takes on a quest and becomes a man. It’s like Star Wars – but with yards and yards of fabric rather than warp drives and droids.
 

» Add other authors

Author nameRoleType of authorWork?Status
Jon Armstrongprimary authorall editionscalculated
Palumbo, AnthonyCover artistsecondary authorsome editionsconfirmed

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To Elba and Caroline
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I woke early, suffocated by a sweaty and prickling sense of apprehension -- exactly the feeling of wool against the skin on a warm day.
Quotations
The truth was, of course, that as a tailor I was a maker of men. They came to me, frayed, unsure, and crooked, and it was my work that not just mended, protected, and reshaped their body, but also restructured who they were from the outside in. I could give them confidence, even if they didn't think they had any. I could give them authority, even when they deserved none. My suits could speak for them, if only they kept their mouths closed. And as such I saw myself as a mentor, teacher, friend, and sometimes a father to my clients. I enjoyed the restorative and formational power of the fabric arts, working without the bloody hacks of a surgeon, the elastic vagaries of a philosopher, or the sweaty labors of a coach.
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In the near-future in a world ruled by fashion and consumerism, master tailor Tane Cedar is commissioned to create a coat out of illegal yarn in one day for his former lover Vada, a fugitive revoluationary who appears to be near death.

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