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One of my anticipated new releases this year. In Saltcrop, three sisters live in a tiny town on an almost unrecognizable future Earth ravaged by climate change and crop blight. When Nora goes missing from her job studying crop failure, Skipper drags practical Carmen on a sailboat odyssey to track Nora down and rescue her.
This is, first and foremost, a book about sisters. The narrative is divided into parts, with the first section narrated by Skipper, the second by Carmen, and the last by Nora. One of the chief delights of this novel is in the unreliable narration. It's fascinating to compare how each sister remembers the past differently, from Nora leaving for college to their mother dying when they were children. Kitasei also does a good job giving each woman a different flawed voice: Skipper is dreamy and aimless, Carmen ruthlessly practical and overly trusting, and Nora idealistic.
The setting swings into truly disturbing body horror at times. The fungal blight that devastated their world infects both plants and animals with impunity, and there were a concerning number of scenes where Skipper and Carmen ate a fish with five eyes and little paws or something. Which doesn't even begin touch the slow horror of watching the fungus infect Carmen's body... The worldbuilding does edge a little too much into simplicity for my taste at times. I dislike how pat it is to make a single company responsible for most of the world's problems. Yes, it's a lot easier to resolve narratively, but make it at least a handful of companies for decency's sake.
A meditative cli-fi story about sisterhood with a ghoulish inclination towards fungal horror. Recommended.
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Saltcrop by Yume Kitasei: Review by Niall Harrison
October 27, 2025
It is a bit of an adjustment to go directly from Everything Will Swallow You, in which it someĀtimes seems as though every rock and tree and hill has a name and a history, to Yume Kitaseiās Saltcrop, in which almost no places do. The three sisters at the heart of the tale grew up in relative poverty in a small town. The eldest, Nora, went off to university in the city a decade ago, but has recently vanished in mysterious circumstances; the youngest, Skipper, and the middle sister, Carmen, set out to find Nora, which involves first sailing up the coast to the city and then on to another country, and then across an ocean, and so on. The odd thing about it is that the novel is clearly set in the near future of our world, and the characters clearly know where they are ā they have maps, and GPS, and there are sentences like, āThe announcer explains the music was played by the national orchestra of a country to the south across the sea.ā This is not a case of in-world lost knowlĀedge. Moreover the reader is given just enough information from other cues to go beneath this surface, and work out that the story probably starts on the Eastern Seaboard of the US, that the city Nora studies in is probably Boston, that the first country visited is probably Canada, that the ocean crossed is probably the North Atlantic, which probably takes them to Norway, and so on. But none of it is confirmed. Itās a strategy that I found gave Saltcrop a dreamlike quality, made it feel like a fable of the future even when it was discussing genetic engineering and agribusiness.
But if the background is slippery, the foreĀground ā the three sisters ā is crisp and primary-coloured. Each takes a turn as the focalising character, in order of ascending age, so the first half of the book belongs to Skipper. We meet her sifting through trash for things she can sell to pay for her grandmotherās medication, and attempting to collect mussels for dinner, only to discover that her site has been cleaned out. Skipperās expectaĀtions of the world are limited; she experiences āa vast, familiar despair that isnāt quite sadness so much as a cavity inside,ā and she envisages that someday soon, the rising oceans will wipe their whole town from the map. So Noraās disappearĀance is something of a final straw, something she might be able to fix. Carmen is more reluctant. Carmen is the beautiful, sociable one, but also the responsible one, the one who takes the weight of supporting the family; she has trained as a nurse while also working full-time as a maintenance worker for Renewal, the megacorporation that sustains a large part of global agriculture folĀlowing a succession of famines. Skipper doesnāt appreciate Carmenās perspective, or her efforts, dismissively musing, āThe difference between them is that Carmen thinks of herself as a main character.ā Skipper is a little tiring to spend time with, I think, certainly for Carmen, and occaĀsionally for the reader. Still: Skipper gets things moving. She insists on going in search of Nora, and Carmen goes with her.
All of the journey described above, up to probably-Norway, is covered in Saltcropās first half. There are engagingly written dangers and beĀtrayals, and an unexpectedly beautiful passage in which the sisters encounter a mid-ocean garbage patch, āthe last two hundred years of human histoĀry⦠compressed into one, singular, cacophonous moment,ā and an increasing sense that Renewal might not be entirely on the level. But I think it is the second half of the novel, when we switch to Carmen and then Noraās more sober, conflicted perspectives, that Saltcrop comes into its own. Carmen and Skipper arrive in the novelās only named location, Vault City, a Renewal company town in the Arctic Circle, which I guess ā based on the central feature being described as āa vault of seeds⦠built to endure the end of civilisationā is probably Svalbard. On arrival they quickly find themselves caught in the system, indentured, and Carmen takes the brunt of it: Working in the hospital by day, building connections with the local resistance by night, all the while struggling with a fungal infection for which they cannot afford the treatment. It is a compelling portrait of a woman who wants to get on and live, to care for her loved ones, being forced into a confrontaĀtion with the broader unjustness of the world and forced to make choices. āFine is what she aspired to,ā she reflects at one point. āFine is what makes people complicit.ā Shortly thereafter, she throws a Molotov cocktail.
Carmen and Skipper donāt rescue Nora, because Nora has already escaped and moved on. EventuĀally the three sisters are reunited, in another city somewhere to the South, still not named, but it is somewhere larger, richer, and more stable, possibly on the Iberian peninsula. Here we switch to Nora, and her attempts to prove Renewalās corruption. The most striking aspect of the novelās climax is not that she succeeds ā this is not the type of story where that was ever really in doubt ā nor the slight narrative creak that presages her sucĀcess, as a lawyer and a reporter appear more or less out of nowhere to offer their support, nor the (welcome) acknowledgement that the revelations have not fixed the world, that temperatures and oceans continue to rise, that ecosystems remain devastated. It is this sentence: āGovernments begin to clamor for the doomsday vault to be reĀturned to public control.ā It is perhaps the bleakest sentence in the novel ā Governments, who have barely been mentioned thus far, and certainly not as any part of a solution, donāt act, they merely clamor ā and it is presented as a source of optiĀmism. Saltcrop is a distinctive, ambitious, smart novel, and its fable-like tone enables it to end with a fable-like promise about the power of individual agency in a time of systemic breakdown, and it is in that sense a novel of hope. But you donāt have to scratch very hard to see through to the world underneath and find a kind of despair, instead.
All four of these are bangers tbh. There are also about 27 more superlatives I'd like to give Seraphina, including Most Flexible Allegory, Most Autism, and Best Use of the Word "Camelopardine." 10/10 great reading month