I’m too ill and miserable to even pretend I liked this book. The beginning was so promising with all the talk of pirates, ships and sea serpents etc. I’m too ill and miserable to even pretend I liked this book. The beginning was so promising with all the talk of pirates, ships and sea serpents etc. (I was excited to finally meet Nikolai, who is legit the only reason I’m reading this trilogy at all so I can read King of Scars), but that only lasted about 100 pages and then NOTHING HAPPENED for the remaining ~350. All the characters are boring and awful—especially Mal—and I just have... no desire at all to read the third and final book. But I will, eventually, because I want to read King of Scars and actually understand what the hell is going on.
At last, I have defeated Earthsea--and I deliberately use the word 'defeated' because ye gods, this collection was a slog to read. Whilst I did for thAt last, I have defeated Earthsea--and I deliberately use the word 'defeated' because ye gods, this collection was a slog to read. Whilst I did for the most part enjoy my foray into Earthsea, I found the archaic writing style extremely dense and difficult to be getting on with. Given the rise and fall of each book's narrative in addition to this, I had to take a one-book-break after The Tombs of Atuan, just 'cause I was so sick of having to work so hard at something I do for leisure. I never hated my reading experience enough to DNF--I actually thought the stories were pretty good--but finishing this thing still feels like an achievement.
I can see in a lot of reviews prior to mine that people praise Ursula K. Le Guin for her economic writing style ('not one word wasted', 'elegant prose' etc.). Sadly this is not an opinion I share; I find Le Guin's style to be wordy, flowery and entirely non-engaging. Whilst I do understand this book is 'old', and I love a good classic as much as the next person (check out my Favourites shelf), I do not have as much patience with books written like this published beyond the 1950s (a Wizard of Earthsea was first published in 1968). When vibrantly snappy books like James M. Cain's Mildred Pierce exist, published way back in 1941, there really is no excuse.
I also felt like there was an awful lot of name-dumping in place of genuine world-building; I had to constantly refer to the map at the front of the book. This did admittedly get better as the books went on, and by the end of my reading it was very clear to me that Ursula K. Le Guin had put a lot of work and thought into the world of Earthsea; I just wish she'd written about it in a way I cared.
The collection starts with A Wizard of Earthsea, which follows the early years of a young wizard called Ged learning magecraft at a school for wizards on the isle of Roke. Talented but arrogant, Ged tries to best a rival by summoning the dead, but accidentally summons a 'shadow' instead. Of the four stories, this was probably the most 'epic' and I did really enjoy it. I appreciated the message of balance and acceptance, even if it was boring to read. Rating: 3/5 stars.
Of the original trilogy, book 2 (The Tombs of Atuan) was my favourite. Unlike the previous book, which followed Ged all over Earthsea across a span of many years,The Tombs of Atuan takes place almost entirely inside a labyrinth, where the main character is actually Ged's antagonist--a young and brainwashed priestess called Tenar. I found Tenar to be a much more interesting protagonist than Ged. The action is subtle, the atmosphere claustrophobic, and the story a lot more character driven than the other two books in the trilogy. Whilst A Wizard Of Earthsea and The Farthest Shore fall into the trap of merely telling a series of events, The Tombs of Atuan takes its time, allowing everything to live and breathe. I loved this book. Rating: 4/5 stars.
Much to my dismay, The Farthest Shore went back to the sins of the first book (telling, not showing; bouncing around the map like a ping-pong ball and flat characters). Again, I appreciated the messages concerning the delicate balance between life and death; some of the physical descriptions of dragons were truly awesome; and the final showdown in the Dry Lands was so clever and powerful, and full of pathos--I saw the influences on Robin Hobb the most in this book. But again, the writing was just so boring... I found it so difficult to care. And I did not enjoy it as much as either Book 1 or 2. Rating: 2/5 stars.
Then we come to Tehanu. Ah, Tehanu... Tehanu reads pretty much exactly like how I'd imagine a fourth book in a previously concluded trilogy would read (published 18 years later, no less): disjointed and disappointing. Once again, Tenar is the protagonist in this book, but she is older, different, and pretty much exists only to undo absolutely everything that's already been established in the first three books. Ged too suffers a similar character assassination to serve the same purpose. It's clear to me that Ursula K. Le Guin was passing commentary on her own work with Tehanu, carefully taking apart the inherent misogyny within her world and shining a spotlight on the marginalised. Whilst I find this intent very admirable and the idea very interesting, the execution is clumsy and extremely heavy-handed. It's also very dated, and overly reliant on gender essentialism (yes, I get that this book was written in the 90s and things were extremely different back then--it's still an issue). The writing style is so different from the previous books as to be postively jarring. Tonally it's different too; the original trilogy was published as a children's book, but Tehanu is decidedly adult. Rape, sex, torture, murder... It's all here folks. Whilst this isn't necessarily a bad thing--in fact I welcomed the darker turn--it is different. On top of that, the pacing was all over the place. The 'plot' (or lack thereof) moved along at a snail's pace, only for things to get a little bit interesting and then abruptly stop--leaving several unanswered questions--in the space of about 25 pages. Unacceptable. Rating: 1/5 stars.
All this being said, overall, I'm pleased I read the Earthsea quartet. I greatly appreciate just how formative and influential these books have been on the fantasy canon. My favourite fantasy author, Robin Hobb, has clearly been deeply influenced by Ursula K. Le Guin's work; I saw the Realm of the Elderlings everywhere. But I also noticed some similarities to Philip Pullman, Terry Pratchett, J.K. Rowling... That aspect of things was really interesting. It's always good to take something back to its roots. Plus I really did enjoy the vast majority of the stories, despite how they were written.
Overall rating: 2.5 stars--rounding up to 3....more
This book was a deeply unsettling surprise. I received it as gift to me from my book pal, because she knows I love Victorian horror and gothic fictionThis book was a deeply unsettling surprise. I received it as gift to me from my book pal, because she knows I love Victorian horror and gothic fiction and thought this would be right up my alley. She's not wrong, for it was much to my own astonishment that I found myself completely unfamiliar with the original story this book is based on--H.G. Wells' The Island of Doctor Moreau.
This particular retelling follows Juliet Moreau--the daughter of reviled Doctor Henry Moreau, whose hideous experiments on animals caused such a scandal in London when Juliet was young that the Moreaus lost their entire fortune, and Doctor Moreau was forced to flee London--now presumed dead. Juliet--who lived some time in poverty with her now-deceased mother--has secured a job as a maid at a medical school. One night, after happening upon a group of students performing a ghastly, but familiar experiment in the night, Juliet learns that her father is not only alive, but continuing his work on a remote tropical island. So of course, she sets out to find him, and soon discovers horrors beyond all imagining...
Given my lack of familiarity with H.G. Wells's original, I had no real idea what I was letting myself in for with this retelling. Just about everything that freaks me out, apparently: graphic vivisection, extensive animal cruelty, animal death, surgical mutilation and forcing living creatures into shapes they shouldn't be*... This book hit my 'squick' buttons so frequently, I had to keep putting it down just to avoid coming over light-headed and fainty. The entire reading experience was so deeply uncomfortable that I practically dragged myself through reading it, but I'm so pleased I did because I think the experience was ultimately worth it.
*If these kinds of things freak you out too, consider yourself warned!
Megan Shepherd's writing is very good, and she's clearly done her historical research; everything felt very 'lived in' and plausible (as plausible as a tale like this can be, anyway). I could picture Moreau's island compound so vividly and I thought the islanders were fascinating (Balthazar! My heart ♥). Whilst it's true that some of the scientific explanations lacked in terms of how precisely Doctor Moreau was achieving his results, I find it very difficult to criticise Shepherd for this as I sincerely doubt such explanations were in Wells's original.
One thing I can criticise Shepherd for however, is the odd decision to (view spoiler)[shoehorn a love triangle into this story between Juliet and two of the tale's original characters, Edward and Montgomery. I know love triangles are a YA trope and this is a YA book, but it still bothers me immensely when authors neglect the horrors and dangers of the world they've created to have their characters focus on romance so heavily. I think it's done at the story's expense. I personally don't think either Edward or Montgomery displayed enough personality for Juliet to become as obsessed with them as she did, let alone quickly. I actually don't mind love triangles when they're done well, but this was not done well, in my opinion. It was not subtle and I do not ship it. (hide spoiler)]
The ending to this book was very good. I didn't see it coming at all and found it both satisfying and suspenseful. This is the first book in a trilogy of Victorian horror retellings--quite a bit is left open and unresolved--but I think it stands pretty well on its own too. You could quite happily walk away and not finish the series (although I do really want to when my book-buying ban is over!).
All in all, The Madman's Daughter is a very decent YA retelling of an old horror classic. I enjoyed it immensely, even with all the squickyness, but horror is meant to unsettle and unnerve you, so this book did just that....more
This book was like nothing I’ve ever read before. I’m not exaggerating — I need to go away and think about it for a while before I try and drag my thoThis book was like nothing I’ve ever read before. I’m not exaggerating — I need to go away and think about it for a while before I try and drag my thoughts into some kind of cohesive review.
I’ve rated it 4 stars for now but truth be told I’m yo-yoing between 3 and 5 stars. Story-wise it wasn’t anything special and one of the main characters was just, the worst. But the execution of the narrative was off the charts, also it’s packed full of code and satire and there were several passages that hit me like a freight train?! Also the ‘house’ might be the book and the book is the house and the main character might not be real and -head explodes-...more
DNF at p. 147. Glacially slow plot. A flat, entirely non-engaging protagonist. No world-building whatsoever, despite the town of Near being set somewhDNF at p. 147. Glacially slow plot. A flat, entirely non-engaging protagonist. No world-building whatsoever, despite the town of Near being set somewhere that clearly doesn’t exist in either time or space. A mystery I don’t care to solve.
My main gripe with this book was the writing style; I just couldn’t concentrate on this book no matter how hard I tried. I found my eyes glazing over entire passages — pages even — but still found myself able to follow along somehow because absolutely nothing was happening.
The sudden appearance of a chemistry-free (and yet, painfully predictable) romance killed any interest I had left for this book absolutely dead. Ordinarily I love V.E. Schwab’s work but this? This is not for me. This is a paint-by-numbers YA.
Side note: I’m doubly annoyed this book made me break my no-YA streak because I could have sworn V.E. Schwab said it was an MG. Spoilers! It’s not....more
Disclaimer 30.07.2020: I read 'The Priory Of The Orange Tree' at a time when I was really, really, really sick, and I suspect now that I wasn't reallyDisclaimer 30.07.2020: I read 'The Priory Of The Orange Tree' at a time when I was really, really, really sick, and I suspect now that I wasn't really absorbing it properly. It's my intention therefore to reread this book at some point, and give it another chance.
DNF at p. 534 (63%). Let's face it; I am never going to go back to this book. I think it's fair to say I gave it a good go though, and--as reminded by several people as I tirelessly moaned about little I was enjoying this book as I read it--life is too short to waste on absolute tomes if you're not enjoying them.
I love epic fantasy books where a hefty page count is warranted. For the The Priory of the Orange Tree however, I felt this was not the case. The prose reads like how the characters talk (lack of contractions, olde worlde dialect etc.) and is absolutely littered with the passive voice, making it feel laboured, distant and stitled. Everything just drags, and feels like an absolute chore to read.
Also, whilst it's clear that Samantha Shannon has put a lot thought into the worldbuilding as evidenced by her enormous map, intricate religions and recounting of various historical events, everything is superficially conveyed, relying on lists of names, places and events through exposition rather than letting the world just breathe. It's a classic example of telling, not showing. Characters dart from one end of the map to the other as though they are teleporting, and the names... Have I mentioned how difficult it is to keep track of the names? Key players (the biggest example I can think of is Crest) are introduced by name only; we spend no time with them at all and then they crop up whole chunks of pages later, affecting the plot in significant ways.
Whilst I appreciate the author's clear intent to implement a matriarchal society with female characters front and centre of a traditional, epic fantasy work, these characters simply weren't developed or compelling enough for me to care about, so I couldn't revel in that fact. Also, despite the society being outwardly matriarchal, the female leader/queen's worth (according to that society) is still determined by her ability to give birth. That's not really 'game-changing' is it?
I was really excited to read this book; 'game-changing feminist fantasy' and 'lesbians plus dragons' sounded absolutely epic... but the truth is, lesbians plus dragons is all there is. I want more from my fantasy novels. I want lush worlds to get lost in, writing that sweeps me up and draws me in, characters to root for and fall in love with... This book has none of that. It lumbers along on a badly executed concept, nothing more.
The perfect Winter/Christmas read. I hope to write a review for this soon, but—as it is Christmas—who knows when I’ll find the time? So for now, I wilThe perfect Winter/Christmas read. I hope to write a review for this soon, but—as it is Christmas—who knows when I’ll find the time? So for now, I will say I really enjoyed this book; it was atmospheric, beautiful and hilarious, as well as packed with meaning and life lessons, like all of Terry Pratchett’s books....more
I’m going with 3 stars for now, simply because I thought some of the tension was lost towards the end. This book gave me lots to think about and certaI’m going with 3 stars for now, simply because I thought some of the tension was lost towards the end. This book gave me lots to think about and certainly grabbed my attention; Shirley Jackson is a wonderful writer. I may end up changing my rating a week down the line. We’ll see. RTC!...more
I'll be the first to admit that I'm trash for Sarah J. Maas. She seems to be the poster-author for everything wrong with YA today and I personally donI'll be the first to admit that I'm trash for Sarah J. Maas. She seems to be the poster-author for everything wrong with YA today and I personally don't think she deserves it. I have my own issues with how some of her books are shelved and marketed (specifically the A Court of Thorns and Roses trilogy), and often find myself rolling my eyes at some of the repeated phrases throughout her work. For the most part however, I find her books excellent fun, fantasy shamelessly geared towards women (what the hell is wrong with that, exactly?), and I sincerely love the characters she creates.
Enter Empire Of Storms: the first time I've read a Sarah J. Maas book and felt legitimately bored and disappointed by it.* Convoluted, vague and overwritten, the writing was all over the place, which severely impacted my ability to enjoy the story.
*I'm not counting A Court of Frost and Starlight, because that was clearly an irrelevant and unnecessary piece of 'blowing off steam' fiction Sarah wrote for herself and her publishers thought they could make money from.
In all my reviews for previous Throne Of Glass books, I've consistently docked a star for the slow pacing. Empire Of Storms was no exception to this rule. However, the difference between previous books and Empire Of Storms is that I don't feel like it ever picked up -- this entire book was a slog from start to finish. The plot was aimless and slow with some serious clarity issues. I am rapidly losing track of why/how the war against Erawan started, not to mention why/how Aelin, Dorian, Maeve, Manon etc. are all related, or which faction is which and who wants want. I truly don't believe this is my fault through lack of paying attention; I waded through paragraph after paragraph trying to glean some understanding of what I know could have been summed up in a few sentences. Where was the editor for this book? Is Sarah J. Maas going the way of Cassandra Clare and becoming so big now that editors are afraid to touch her stuff?
Some of the characters have also started getting on my nerves in a big way, specifically Aelin and Rowan. In my review of Queen of Shadows I commented their relationship had taken a turn for the weird; the transition from platonic friends to potential lovers feeling rushed and jarring after the initial 'hate to friendship' arc being built up so slowly and beautifully in Heir of Fire. In Empire of Storms, Rowan and Aelin can barely keep their hands off each other; can't even look at each other without wanting to rip the other's clothes off. Ostensibly, this wouldn't be a problem -- they've only just started having sex with each other, so I guess it's all new and exciting; like it was in Crown of Midnight between Celeana and Chaol -- but do we really have to read about it constantly? It was tedious. So, so tedious. Also unnecessarily explicit, given this series a) started off as a YA and b) is still being marketed as such. I genuinely don't care about Aelin wistfully recalling giving Rowan a blow-job, or that Rowan mentally clocks up the number of times Aelin is rude to him so he can make her 'suffer for it' later. Incidentally, that's also hella creepy, but whatever floats your boat, I guess.
I'm not sure if it's because of her relationship with Rowan, but I've also stopped liking Aelin as a character. Gone is the hard-as-nails, vulnerable, arrogant Celeana of old; now she is just plain arrogant and totally unwilling to trust in or communicate with others. To some extent, I appreciate the character development; she's clearly grown in confidence over the course of the series and overcome some of her traumas... but I miss Celeana's vulnerability and spending so much time in her head. There are so many POVs now, we don't really get to spend much time as much time with Aelin's thought processes anymore, unless she's thinking about having sex with Rowan of course (YAWN).
The sea battle against Erawan's forces at Skull's Bay was genuinely thrilling (Lysandra is the real MVP), and Manon's character continues to be truly interesting. Also, as much as her POV chapters initially annoyed me, I really grew to like Elide over the course of this book. I'll be honest though, it's been a few weeks since I finished Empire of Storms and I've genuinely forgotten pretty much everything else I enjoyed about it; the cons vastly outweigh the pros.
I also missed Chaol. Ugh. But that's OK, because he's got a whole book to himself in Tower of Dawn, which I'm still looking forward to despite this meandering mess of a book.
I've also heard it said that Empire of Storms is the weakest book in this series, so I'm not at all put off by my experiences here. Bring it on! But maybe I'll take a break first......more
I thought this was OK. Glimmers of brilliance bogged down by cheesy tropes and characters behaving inanely. Also I personally thought some things wereI thought this was OK. Glimmers of brilliance bogged down by cheesy tropes and characters behaving inanely. Also I personally thought some things were not fully explained (view spoiler)[e.g. Morozova's Herd... why is it called this? Who was Morozova? Why are Sun Summoners so rare? Why did Alina believe Baghra so readily? How have she and the Darkling been alive for so long? I presume it's linked to power, but then if that's the case, Baghra is older than the Darkling and could be powerful enough to stop him herself, even without killing him. (hide spoiler)] God, I have so many questions. I'll try and write a more detailed review later today....more
N.K. Jemisin's first book in The Broken Earth trilogy, The Fifth Season blew me away with its beautiful writing, incisive observations regarding strucN.K. Jemisin's first book in The Broken Earth trilogy, The Fifth Season blew me away with its beautiful writing, incisive observations regarding structural oppression, epic worldbuilding and ambitious scope. The Obelisk Gate meanwhile -- whilst still very good for all the reasons I described above -- does not pack as much of a punch as its predecessor.
Essun's story continues as she desperately seeks to locate her kidnapped daughter, Nassun, amdist an apocalypse caused by none other than her old friend and mentor, Alabaster Tenring. Deep underground in Castrima -- the underground comm of oregenes -- Essun attempts to wring sense from the dying Alabaster. Meanwhile, Nassun has fallen into the hands of Schaffa -- Essun's Fulcrum Guardian -- and is coming to terms with her place in the world as she grows into her oregene abilities. As the Season rages on and tensions within Castrima rise, Essun must master her oregeny and learn to open the Obelisk Gate... but what is it?
In some ways, The Fifth Season was always going to be a difficult follow-up because the revelations occurring in The Fifth Season just aren't possible anymore; (view spoiler)[that Damaya, Syenite and Essun are the same person is a revelation that can't be repeated (hide spoiler)]. Therefore, it's inevitable that The Obelisk Gate can't pack the same punch as its predecessor, but it certainly gives it a good go -- the sparing information Alabaster drip-feeds Essun is suitably disturbing, and Hoa's storyline comes into sharp focus. Depictions of Nassun walking on eggshells around her murderous father call to mind trigger-happy police officers in modern-day America, and the unravelling of Schaffa's own internalised prejudices was interesting to perceive. N.K. Jemisin still weaves a twisty, turny tale; it's just not as twisty or as turny as the first one.
We also spent a lot of time in Castrima in this book. As a result everything dragged, because the setting was so static. Although the rising political tensions were interesting, I was a lot more interested in Essun's conversations with Alabaster, even though these rarely made any sense. Jemisin delights in allowing things to unfold as slowly and vaguely as possible, but always with the promise that things will be revealed at a later date. Unfortunately in this case, a lot of these revelations look likely to occur in book 3, making book 2 somewhat dissatisfying; this is very much the middle book in a trilogy.
Book 3 is now set up very nicely and I'm super stoked to read The Stone Sky. I want everyone -- especially Essun and Alabaster -- to be OK!...more
1) At the time of my writing this review, R.F. Kuang is just 23 years old. 2) She wrote a submittable draft ofThings I can't quite wrap my head around:
1) At the time of my writing this review, R.F. Kuang is just 23 years old. 2) She wrote a submittable draft of this book in 3 months. 3) She was just 19(!!!) when this book got signed. 4) She's doing a Masters in Military History at the same time as writing the sequel. 5) This book is still somehow completely and utterly fantastic?! 6) It's her debut book?!
It's this kind of work ethic, determination and sheer talent that's enough to send me into an existential spiral. How can someone so young produce a book this good in such a short space of time? This is the kind of fantasy I aspire to write -- not necessarily in content, but in tone, impact and resonance. This is the kind of book I live for.
The Poppy War is a military-focused historical fantasy, set in Nikara, a world inspired by medieval imperial China and the Second Sino-Japanese War. The story centres on Rin -- a war-orphaned peasant girl from the South -- who defies all expectations to win a place in the military academy of Sinegard in order to escape an arranged marriage.
The first half of this book deals primarily deal with Rin's experiences at Sinegard -- specifically classicsm, colourism, sexism and the illusion of meritocracy. The typical academy setting is threaded through with some truly shocking lessons on military strategy (the cold realisation that this is how politicians actually operate is galling) and the extreme measures Rin is willing to take to secure her place at Sinegard. There's also a lot of ruminating on drug use, meditation and achieving enlightenment, which I feel is going to be very important for Rin's storyline going forward. "With great power comes great responsibility" and all that jazz...
The second half of this book catapults us into war. Unflinchingly brutal, sanity-sapping war. All the theorising back-and-forth military strategy hashed out in Sinegard becomes reality in the war against Mugen, and it's sobering, to say the least. There's a certain fantastical element introduced by way of the Speerlies and the Cike, but it's the stuff grounded in cold hard reality that really hits hard. R.F. Kuang took inspiration directly from some truly horrific events during the Second Sino-Japanese War, specifically the Rape of Nanking, Unit 731, and the atomic bombing of Hiroshima and Nagasaki. All of these are depicted pretty graphically within the pages of this book, the truly chilling part of course being that nothing can compare to the horrifying reality. I really like books that teach me something and encourage me to read outside of their pages; The Poppy War was one of these books; I'd never heard of Unit 731 before, and there's quite a lot of stuff in here inspired by Sun Tzu's The Art Of War as well.
One of the things that really struck me whilst reading The Poppy War is how nuanced it is. Rin is a deeply flawed and fallible main character with her set of biases and prejudices that can sometimes be difficult to stomach. It's clear we as readers are meant to take some of her perceptions with a hefty pinch of salt (that she thinks the Mugenese aren't human, for example, when it's quite clear given the actions of the Empress and Jiang's constant warnings that there's a lot more going on we're not yet privy to). At the same time, you can't help but root for her as she continues to prove people wrong time and time again, and challenge their -isms to get ahead. Her headstrong nature is equal parts commendable as it is frustrating, but as the story progresses and the war with Mugen ramps up, Rin makes increasingly ruthless decisions -- defying and isolating her mentors in the process in order to acquire devastating power -- that it's clear that can be no heroes in war; only victors. At what cost? Guess I will have to read the sequel to find out...
I loved this book; I thought it was stunning. It repulsed me, intrigued me, horrified me... swept me up in its beauty only to send me crashing back down again. It's absolutely brilliant and stunningly written. Nothing can be taken at face value. There are no villains, no heroes -- only acts of good and evil. I can't wait for the release of The Dragon Republic....more
No author frustrates me as much as Cassandra Clare. On the one hand, she crafts wonderful, well-developed characters with intricate and compelling ploNo author frustrates me as much as Cassandra Clare. On the one hand, she crafts wonderful, well-developed characters with intricate and compelling plots. On the other, she cannot write for toffee. Where on earth was the editor for this book? Why was it 900+ pages long? How was it deemed acceptable for an archaic word like 'atavistic' to be used so many times? Why are there still so many similes and ridiculous metaphors in place of evocative description this far down the line?
Queen of Air and Darkness was a veritable slog to get through. Whilst I absolutely adored the first book in this series, Lady Midnight (despite the poor writing), with its affectionate throwbacks to classic Victorian literature and brilliantly clever plotting, the subsequent books in The Dark Artifices have completely failed to hold my attention. It’s been a couple of weeks since I finished Queen…, and honestly, I'm struggling to remember what happened. For a book that was supposed to be a finale, several items were left unresolved to set the reader up for yet another trilogy called The Wicked Powers. And although I love them as characters, Emma and Julian's parabatai curse was resolved far too quickly and easily. (view spoiler)[I really liked the nod to the giant biblical Nephlim though; that was cool and felt in-keeping with the Shadowhunter world. (hide spoiler)]
The whole Mark/Kieran/Cristina thing was also an absolute joke. All three of these characters felt like mere shadows of their former selves, and the utterly predictable polyamorous relationship felt cringeworthy, uncomfortable and totally forced. I hated it. I don’t buy Cassandra Clare’s 'In Defence of Cristina' bullcrap either. Cristina, Mark and Kieran — all three of them — were badly written, and what influence they had on the ‘plot’ was barely noticeable in favour of the fetishisation of their relationship. Mark Blackthorn was actually my favourite character in Lady Midnight, and he read like a completely different person in this. Oh God, it annoyed me so much.
This links in to another thing that drives me absolutely insane about Cassandra Clare: all of her characters are always thinking about each other romantically and/or sexually at the most inappropriate times. Whilst I understand that perhaps some people use romance/sex as a means to overcome grief and anxiety, there are far more people in the world who don’t. I’m telling you right now, if someone in my family died, or I’m climbing the walls in the depths of an anxiety attack, sex is be the absolute last thing on my mind... but not in a Cassandra Clare novel! Oh no. Everyone is always up for it. All the time. Every time.
This book had one saving grace: the mid-section in Thule. Cassandra Clare full on jumped the shark with this mid-section and as batshit insane as this entire sequence was, I absolutely loved it. (view spoiler)[Livia’s alive and gone full on Mad Max! Sebastian lives and still lusts after Clary! Malcolm Fade is a literal. puppy! Oh my God.(hide spoiler)] Brilliant. Absolutely brilliant. (view spoiler)[Plus Julian’s frustratingly stupid curse didn’t exist in Thule either; it was a relief to have the old Julian back. (hide spoiler)]
I think it’s clear that I’m fast approaching the end of my tether with the Shadowhunters series. Lord help me, I will read Chain of Gold , because I'm an absolute sucker for La Belle Épogue and I’m intrigued to read about Will and Tessa’s children, but at some point I’m going to need to start loving myself and stop subjecting myself to this misery.
I’m taking a break from YA, for the sake of my sanity....more
One of the most sophisticated YA fantasies I've ever read. A masterclass in worldbuilding and vividly realised magic systems, Laini Taylor writes beauOne of the most sophisticated YA fantasies I've ever read. A masterclass in worldbuilding and vividly realised magic systems, Laini Taylor writes beautifully and vividly about familiar age-old concepts without a hint of cliché: Heaven vs Hell; Angels vs. Demons; Montagues vs. Capulets; Romeo & Juliet.
"Once upon a time, an angel and a devil fell in love. It did not end well."
This book has been sitting on my shelf unread for literal years. Despite hearing from several reliable sources how excellent and well worth a read it was, I never found myself in the mood. The only reason I picked this up at all was 'cause it came up as a monthly read in my online Book Club. I'm so pleased it did!
I loved everything about this book. The writing, the world, the story, the star-crossed lovers romance... The characters were wonderful. I adored Karou who, despite possessing several tropey YA traits--such as naturally blue hair, links to the supernatural and amazing artistic talents--never felt like anything less than a fully rendered, believable human being. I loved her feisty and hilarious best friend Zuzana, the gruff, taciturn Brimstone... In fact, I thought all the side-characters were really great, and I could have easily stopped following Karou's storyline at any given moment and wandered off down a side-street with someone else, no less entertained.
The only character I'm not sure about--even after finishing reading--is Akiva. Yes, I understand he's a beautiful, tormented angel. Yes, I see totally how understand how he fits in Karou's world. Much to my own surprise, I even believed in the romance, despite its star-crossed, inevitable nature and seeming lack of foundation; It just worked for the story Laini Taylor was trying to tell. However, I just never really 'clicked' with Akiva like I did the others. I suspect largely this is because he's so closed off for the entire story. There's a reason for that, obviously, but still. I look forward to getting to know him a little better in the sequel.
As mentioned previously, the world-building and magic system are both fantastically done. Both are very complex and intricate without ever coming across as confusing, drip-fed to the reader carefully so as not to overwhelm. I also really liked how Laini Taylor handled society's reaction to irrepressible supernatural phenomena by dismissing it all as an elaborate, if rather unsettling joke or hoax. Perfect!
Daughter Of Smoke and Bone is also one of those rare gems that transcends its demographic--as evidenced by the fact it's sold here in the UK as an adult fantasy as opposed to a YA. I think it sits somewhere in the middle, starting out like a paranormal contemporary/urban fantasy--with main character Karou dealing with her loser ex-boyfriend in magically creative ways--but ending somewhere a lot less grounded in reality--practically a different world altogether. The characters change, becoming 'older' and a lot more mature, dealing with heavier topics. Both adults and teens will find lots to love here, and I think that's really special.
The real-world descriptions of Prague were also absolutely spot on and made me want to go back there so, so badly.
All in all, a simply gorgeous novel and I absolutely loved it. Curse my book-buying ban, because all I want to do now is read the sequel immediately....more
Despite being unforgivably slow for approximately two thirds of the way through, Record of a Spaceborn Few actually turned out to be a very poignant aDespite being unforgivably slow for approximately two thirds of the way through, Record of a Spaceborn Few actually turned out to be a very poignant and moving depiction of diaspora, belonging and the treatment of outsiders.
I did not enjoy this book anywhere near as much as it’s predecessors — perhaps because there were too many POVs kicking around and even less plot than usual — but I also think it had something to do with the location. Almost all of this book takes place on the Fleet; an enormous group of space ships inhabited by humans who fled a dying earth centuries ago (those from the Fleet are known in the Galactic Commons as Exodans). The Fleet is old, clunky and static, the society within highly social and anarchic. Nothing goes to waste and everything is reused, even dead bodies. That is fine, but I seriously missed being planet side and encountering new, weird and wonderful alien species.
Only one character here, an ethnographer called Ghuh’loloan, is Harmagian, but she’s pretty clued up on the ways of humans and, despite being on the receiving end of a few racist/xenophobic remarks, handles herself pretty well. The most ‘alien’ character is in fact Sawyer, a human born and raised on the planet of Mushtullo (Harmagian territory). Heavily accented and totally unfamiliar with the ways of Exodans, my heart broke for poor Sawyer as he struggled to find his place in the Fleet. Some of the events that transpire in this book as far as Sawyer is concerned are so deeply upsetting and unjust that I found myself feeling legitimately disturbed and rattled by them. They mirror what is happening in the real world; distrust and intolerance of immigrants just looking to make a better life for themselves. (view spoiler)[And the irony of Eyas feeling like a symbol, only to then use Sawyer’s death as exactly that to make up for how she treated him... oh God. (hide spoiler)]
It was Sawyer’s storyline, and the aftermath of that, that saved this book for me. The beginning really did feel directionless and I got restless, being stuck on the Fleet. Nevertheless, the world building, as always, is on point, and Becky Chambers’ grasp of human behaviour is unrivalled....more
Please forgive my poor grammar and sentence construction in the below review. I’m very tired and my brain hurts.
I neither liked nor disliked this bookPlease forgive my poor grammar and sentence construction in the below review. I’m very tired and my brain hurts.
I neither liked nor disliked this book; it was merely OK. I feel distinctly whelmed by it all. I doubt I’ll remember anything that happened in it in about a week.
What started out as a really promising murder mystery filled with subterfuge, drama and political intrigue soon descended into a slow and plodding narrative that never seemed to go anywhere. I did not find the main character, James Marwood, at all engaging; he was kept in the dark about most things from beginning to end, which meant I was never really sure what the stakes were, or why the bloody hell I should care. The deuteragonist, Cat Lovett, was much better, but even she felt flat by the end of it, her story becoming evermore drawn out and tedious just as everything was supposed to be coming to a head. I just found myself wanting the two to meet, and it just took absolutely forever for that to happen. I did quite like how everything was resolved in the end though. The last few chapters were good, but too little too late.
The historical details were really interesting — the Restoration is a really fascinating period of history and I love stories that are set in this era. The destruction and aftermath of the Great Fire were all covered really well, but conclusion, this book was about as dry as a closely-knit wooden city languishing in the height of summer that never lit up....more
I went to visit the Museum of Death in Los Angeles once—the very definition of thanotourism as explained in this book, in fact!. What I’d expected to I went to visit the Museum of Death in Los Angeles once—the very definition of thanotourism as explained in this book, in fact!. What I’d expected to be an intriguing collection of death rituals and funerary objects actually turned out to be a voyeuristic display glamorising serial killers and the goriest, absolute worst ways people can die (I do not recommend it—I found it very disrespectful and not at all death-positive).
This book is more what I expected that museum to be; this is a beautiful anthology concerning death, the afterlife and all its forms—though as others have noted, very much with heavy focus on a western perspective, which is a shame. Each turn of the page shows an image, followed by a few paragraphs concerning the subject of that image. Example subjects include: cremation, coffins, epitaphs, Gilgamesh, Yama, burial mounds, premature burial, sin-eaters, Edgar Allan Poe, guillotines, kamikaze pilots, CPR, DNR, transhumanism and quantum resurrection... I’ve barely scratched the surface! Personally, I thought there were a few important topics missing (lynching, cannibalism, composting) but I suppose it would be impossible to truly cover everything!
You’ll never find anything more than summaries throughout this book, though the author does make clear his intentions at the start, and provides further suggested reading should you wish to know more. There are lots of thought-provoking subjects here, particularly towards the end of the book when Pickover focuses on the advances of modern science and quantum theory—a little deep for my Friday afternoon commute but very, very interesting!
Another notable thing to comment on: this is a very aesthetically pleasing book—leather-bound and gilded with thick, heavy, full-colour matte pages that one can just pick up, flick through and land on a random page to learn something new. It’s a good coffee table book; something you can leave on your table for guests to pick up and muse over... because they will! I got so many comments and questions from strangers and colleagues when reading this book in public. It has a very striking cover and title.
Overall, a good entry-level book if you’re not sure where to start when tackling the subject of death, or are just looking to flick through something for inspiration....more
Han Kang's Man Booker Prize-winning novel, The Vegetarian is my favourite kind of literary fiction: short, pacey and packing an emotional punch. I sugHan Kang's Man Booker Prize-winning novel, The Vegetarian is my favourite kind of literary fiction: short, pacey and packing an emotional punch. I suggested we read it as part of my monthly book club -- not just because it's been kicking around on my TBR for a while, but also I surmised there'd be lots to talk about afterwards. Who doesn't want to read a book about a woman who wants to turn into a tree?
This is a rather diminishing description of The Vegetarian's plot, of course, if not entirely inaccurate. Yeung-Hye lives an entirely unremarkable life married to her waste-of-space-husband until one day -- after a vivid, life-altering dream -- she decides she no longer wishes to eat meat, or indeed any animal product. Because Yeung-Hye cooks all her husband's meals, she basically enforces the diet on him too -- much to his chagrin. The book explores the impact of Yeung-Hye's choices on her and her family in three parts: one from the perspective of Yeung-Hye's husband, Mr Cheong; two from the perspective of her unnamed brother-in-law; and three from the perspective of her sister, In-Hye.
The result is a truly unsettling, sensuous tale exploring themes of oppression, identity and liberation. Although the subject of vegetarianism is by no means ignored (there are a couple of truly excruciating dinner scenes; unpleasantly familiar for anyone who's tried -- or is currently following -- a veggie diet), I would argue it's not the book's primary focus. Yeung-Hye's decision not to eat meat is tied up in rejection of societal expectations, patriarchal oppression and the violence of life itself. She has very little interest in pursuing vegetarianism healthily, often rejecting food altogether as she seeks a more 'plant-like' existence -- peaceful and unconscious. Nonetheless, by becoming a vegetarian, Yeung-Hye is upending the status quo -- flying in the face of not only her family's wishes, but also their very perception of who she is.
Parts of this book are unflinchingly brutal as both Yeung-Hye's husband and father seek to bring her to heel through their various physical and psychological abuses (there is a particularly harrowing instance of animal abuse which mirrors this). Other parts are vividly erotic, reflective of the freedom and transformation one feels about their own identity when they become aware of their own internalised oppression. To me, it's very clear the author was making some kind of commentary about the treatment of women here (both in Korea and beyond), specifically in relation to body autonomy. All the men in this book are portrayed as entitled, feckless idiots, content to be doted on by their wives without contributing hardly anything themselves. Even In-Hye's husband -- who we perhaps feel more sympathetically to than Mr Cheong, even though he is just as faithless and useless -- perceives Yeung-Hye as little more than a means to an end, becoming obsessed with her emaciated, Mongolian-spotted body for his video artwork (or maybe that was just an excuse).
Lastly -- and coming back again to the subject of body autonomy -- it would be utterly remiss to ignore this book's blatant commentary on depression and mental health. Yeung-Hye's ultimate decision to become a tree -- as teased by the blurb -- seems to be a rejection of life itself. By escaping her invisible cage of society's expectations, Yeung-Hye runs headlong into another; her own body, tethering her to an entirely pointless and pain-ridden life.
"Why, is it such a bad thing to die?"
The Vegetarian was about as weird and literary as I was expecting. The writing, albiet in rather controversial translation (apparently there are numerous errors and deliberate embellishments that give Yeung-Hye more agency than she has in the Korean version) is beautiful -- pristine and precise. The topics covered are all of great interest to me, and I also really enjoyed reading something so steeped in a culture that is not my own. Although aspects of this book feel familiar and can be related to on some level, other themes felt distinctly Korean to me -- the family dynamic and how women fit/are treated within that, for example; familiar yet unfamiliar. The final part of the book, in which In-Hye battles to keep her sister alive against her will, was particularly thought provoking for me; I ended up scribbling out two pages' worth of notes for my book club. Although the ending felt strangely incomplete, after letting it sit for a while, I think it was fine.
Overall I really enjoyed this book. Not enough plot or depth of characterisation to warrant five stars from me (it's rare I find this in literary fiction anyway), but definitely worth a read....more
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