Nalo Hopkinson’s Brown Girl in the Ring (2003) can be viewed two ways. From inside the ring, it defies tired urban fantasy tropes by employing a magic system based on Orisha, a Yoruba import embedded in some corners of Jamaican culture. This just might satisfy fans looking for a magic system that’s not based on drugs or vampire sex.
From outside the ring, Brown Girl in the Ring feels just like any other urban fantasy: two-dimensional, limited, with predictable grit and cartoonish mobsters.
“This is a tough city, right? You people see a lot of terminal injuries?”
Seen,Rudy agreed wordlessly. Half the time, is we cause them. That amused him (4). Continue reading