I loved the afterword. I listened to the audio book narrated by the author who did a great job there.

The afterword made me appreciate the book at bit more but I am not a fan of books where a story doesn't get resolved at the end. 

For those who feel dead inside and don't understand why: Read this book before you buy $400 of heroin, steal your ex's car, and drive across the country hoping to figure out why you feel so empty. Hint: you're probably transgender and dealing with the trauma of repressing it for so long. 

Unpopular opinion: I love the way Binnie writes dialogue without speech marks. The prose flows like a train of thought, and it's just so PUNK.
Maria is a bit unlikeable at first, but I really warmed to her. I think that's because she acknowledges her demons so candidly towards the end that it kind of made me feel sad, but also hopeful for her.
It was also super interesting to see the interaction between Maria and James. It's almost like Maria was visiting her younger self as a ghost of trans-ness future, and then you realise that in reality every person can only learn from their own journey.
Overall I enjoyed the book, and I didn't find it too challenging to pick up and put down every now and again. Having read Torrey Peters' De transition, Baby last year, I can see how influential this book has been. It just didn't completely blow me away enough for a higher rating.

A charming novel. The book really shines when the MC is talking about the neuances and complexities of being a trans woman and the trans feminine experience, but it also all falls flat when Maria talks about trans men and transmasculine experiences, sometimes just plain shitting on them, sometimes just stating things that are simply factually incorrect. Now I read books where main characters have questionable views all the time, that's not my issue, but here at least to me it seems like these aren't just presented as the character's biased opinions, but as objective truth and Maria and some other characters are used as vessels for the author to lay down her own views on the page. I felt the need to point this out and critisize it especially because I've seen this book recommended a few times over the years, none of those times was this even mentioned or acknowledged in any way. I went into this book thinking I was going to read a literary novel about a trans woman and a commentary on the neuances and complexities of gender and transitioning in American society and I did get that out of it but I also got to read a book that too often shits on transmasculine people and gives matter of fact statements that are objectively and factually wrong. Only in some reviews here and on goodreads I saw these problems with the book acknowledged.

Some stuff that irked me but not too much:
 -the overuse of the word bohemian or rather describing random stuff as bohemian even if it was ironic, it was done kinda sloppily
 -with this type of character and novel there needs to be a certain degree of irony and self awareness that I felt weren't present enough

other than that the book was a mostly pleasant experience to go through

so weird, but so interesting. made me realize some personal stuff, so that's great. lots of drug stuff tho. 

For a quick plot summary, Nevada is split into two parts, the first focusing on the “post transition” life of Maria who has been experiencing years of personal and professional inadequacies in her life in New York so embarks on a trip. The second mainly follow the “pre transition” narrative of confused stoner James in Star City, Nevada and the chance meeting with Maria. Other then that there is rather minimal plot, it’s for sure more about the characters and discussions on gender identity, sexuality and the role of women (misogyny, patriarchy and the like). These parts were my favourite I’d say, Binnie clearly has a lot of knowledge surrounding these topics and put a lot of it into her debut work. There is a lot said and I thoroughly enjoyed being educated in the experience of two trans people, with it being personal to each of them and not a generalised representation of ‘the trans experience’ but from reviews and the acclaim the book’s gotten it’s clearly resonated with many people and this is amazing. Whilst I did like Maria’s monologuing at the start it definitely become quite repetitive and a little unrealistic as the book went on. This is the same for quite a lot of what’s rehashed multiple times and I did find myself losing interest. I think it would have been better if more of what Binnie wanted to put forward was via ‘showing’ and not ‘telling’ with a focus on plot and character advancement, not the monologues. 

From the paragraph above, I used the terms “post” and “pre transition” in quotation marks because this is how Binnie herself chose to describe the experiences in the 2022 afterword in the copy I read. This inclusion was a very interesting read and she listed lots of authors who write about the queer experience I’d also like to check out. In it, she says how she chose to create these characters at these specific stages to show how a trans person is trans throughout their journey and to disregard the “in between” stage. Other parts are discussed surrounding the path to getting Nevada published and reasonings for certain plot points. 

Something I particularly disliked about Nevada was the excessive and continuous depictions of drug taking and the central role weed has in James’s life. I really don’t like reading about drug use/abuse and for me it was far too often mentioned. It also became more prevalent as the book went along which together with the rather unrealistic monologuing and my last point made me lose interest. I’d also say there’s a lot of unnecessary swearing. This final thing was Binnie’s use of the term ‘like’ which I found different at first and quite informal which allowed me to get to know the characters better. It then became a little annoying and as the book went on it’s use became so excessive - I counted one relatively small paragraph using it nine times - and therefore very very jarring. I just feel about 80% of the times it was used could’ve been omitted as it broke up the reading experience too much for me and whilst it may seem like something small, it was enough for me to personally knock off a half star from my rating. 

I would still definitely recommend this book and it’s impact in the literary scene has done as lot for trans literature which is great. There is a lot to learn from Binnie with relatability and the discourse on the lives of transgender people. Overall I did enjoy it but as stated I have my issues too, it started out amazingly but did dwindle as I carried on reading. 

I keep waffling on how I want to rate this book. It’s a work that feels deeply personal, deeply “of its time,” and like the debut work that it is. I think that “the discourse” (which I say sort-of ironically and in finger-quotes, and sort-of not) around trans issues has necessarily changed enormously since this was written and published— in some positive ways, yes, but also as right-wing groups create bogeyman out of trans people for talking points and cultural control. 

All this to say: when I speak with my friends, these days, about whatever the online manufactured inter-community discourse of the day is, I often find myself saying something like, “I wish there was a way for this conversation to be happening, but just between trans people.” And all that to say: that’s what this book feels like to me, a book about and for and between trans people, a conversation that centers us and particularly trans women. It’s not that I wouldn’t want cis people to read it, and it’s not as though it wouldn’t be accessible to people who are not trans— but it’s for us. That’s its strength and its greatest charm, and I think that’s why I want to take its flaws with a grain of salt and a baseline of good will.

It’s not a perfect book, and not one where I feel I agree with everything that the narrators do or say or think— but hearing the author herself read it, you feel the willingness to be wrong, a self-deprecating awareness that to tell an individual trans persons story isn’t to endorse every aspect of it. There are beats that resonate down to the very core, and throughlines that feel eerily familiar, and flawed gold veins of selfishness that feel raw and real. 

Our main characters are a little to sometimes a lot pathetic and very humanly flawed and variably likeable depending on the day. Our plot meanders and skids and gets knocked off track and never decides to get back on it. Our narration… feels very much like the 2012-2013, first-person forum writing— but I liked listening to it, and the wry sort-of-bashful-sort-of-cocky self awareness of it. There’s a lot of humor and heart here. There’s a lot of frustration, also. I don’t know that I would want to know most of these people; I felt dragged into the spotlight by some of the similarities I felt with them, too. The afterword was one of the best parts— I loved hearing what the author had to say about what the book is about, and her reflections on her own life in regards to the work, and her discussions about the act of crafting it, and what she chose to show and what to leave out. 

Anyway, I didn’t love it the whole way through. Anyway, I couldn’t stop listening. Anyway, I love that it exists. As always, mind the content warnings— mine probably won’t cover it all just because I’ve been noodling around the book itself a little too much.