This juvenile high-middle-ages fantasy (although classified as YA in my library, there is no romance or terrible gore, and the lead character is around 10 years old) is by the same author as Bella At Midnight and The Mysterious Case of the Allbright Academy (both very good) and this work is no exception.
Molly is one of seven children of an out-of-work drunken tanner and his mad wife (who isn't really mad), and at age seven, she's packed off to work in the castle because of a peculiar ability that she's inherited.
The pictures of castle life and the differences between the nobility and the servants (and even the differences in class between different ranks of servants) are very straightforward, but not preachy - just matter-of-fact.
While at the castle, Molly is chosen to polish the silver, and she soon learns from an ornate washing bowl that there are curses on the royal family - 100 of them to be precise, and they're getting worse every year. When another curse erupts in bloody violence at the royal princess' wedding, Molly, her friend Tobias, and their mysterious rescued companion must figure out how to save the kingdom, and what's left of the royal family.
I really enjoyed this one - Molly is gutsy, clever, and outspoken, and the male leads are kind and generous. The 'moral' of the story is a little simplistic, but not a bad idea to explain to kids, and thankfully free of any religious or environmental entanglements.
I don't know that I would rate this quite as high as Allbright Academy (which was simply a marvelous read from start to finish) but I would say it's easily as good as Bella, and I look forward to Diane's next work. I also feel compelled to say Bravo! for not falling into the endless sequels trap - these have been three jewels, each distinct, and I appreciate that almost more than I can say.
Tuesday, January 31, 2012
Monday, January 30, 2012
The Magic Nesting Doll, Jacqueline Ogburn, Laurel Long
The heroine of this story isn't really Vasilisa, but the style is very similar to that of the stories of Vasilisa the Clever/Brave/Beautiful, especially with the nesting doll resting in her pocket.
Katya lives with her beloved grandmother, who passes away one spring. Before she dies, she gives the girl a magical nesting doll (matryoshka) to use three times in her greatest need.
The girl travels to the capital to find a new home and work, and as she travels, the skies grow darker, the world grows colder, and it begins to snow. It appears that the young tsarovitch has been put under a spell to become no more than living ice, and in response, the world has fallen into a winter without thaw, a night without moon, and dark without dawn.
Fascinated by this idea she journeys to the palace and is imprisoned by the Vizier (never have a Vizier, people!) and uses the fantastical creatures inside the nesting doll to break the layers of the evil spell, rescuing the country and the prince.
Not particularly original, or worldshattering, but the illustrations are beautiful, and the girl-power theme is welcome.
Katya lives with her beloved grandmother, who passes away one spring. Before she dies, she gives the girl a magical nesting doll (matryoshka) to use three times in her greatest need.
The girl travels to the capital to find a new home and work, and as she travels, the skies grow darker, the world grows colder, and it begins to snow. It appears that the young tsarovitch has been put under a spell to become no more than living ice, and in response, the world has fallen into a winter without thaw, a night without moon, and dark without dawn.
Fascinated by this idea she journeys to the palace and is imprisoned by the Vizier (never have a Vizier, people!) and uses the fantastical creatures inside the nesting doll to break the layers of the evil spell, rescuing the country and the prince.
Not particularly original, or worldshattering, but the illustrations are beautiful, and the girl-power theme is welcome.
A Weave of Words, Robert D. San Souci, Raul Colon
Such a pretty pretty book, and such a wonderful message.
Based on the Armenian folktale "Clever Anaeet" - (found in closer to original form in the compilation The Fabrics of Fairytale, by Tanya Robyn Batt. The same story also appears (with much less stirring text and illustrations) in The Golden Bracelet, by David Kherdian and Nonny Hogrogian.
A lazy prince loves only to hunt, and in fact, that is the only thing he knows how to do. That is until he meets a beautiful, clever, and wise weaver's daughter, who won't have anything to do with him until he has proven himself to be a true man by becoming literate and learning a craft or trade.
Smitten with her, and now burning with desire to prove himself worthy, the prince studies hard and learns (and excels at) the craft of loom weaving cloth-of-gold.
He sends her a poem written by him, wrapped in a blanket woven by him, and she accepts his proposal. She teaches him to handle bureaucracy, he teaches her to ride, and to fight.
Then danger stirs on the border, and he goes to investigate. He's caught by a dev (a goblin demon) and forced to work night and day to earn his meager rations. He weaves a beautiful cloth with a secret message for his queen, and tricks the dev into sending it to her for gold. She understands it at once and rides in to the rescue.
The illustrations are beautiful! Dark and evocative, with beautiful prince and maiden, and evil henchmen and dev. The backgrounds are full of "arabian nights" style swirls and flourishes, and they remind me of The Horse and His Boy, and of The Blue Sword and The Hero and the Crown.
Based on the Armenian folktale "Clever Anaeet" - (found in closer to original form in the compilation The Fabrics of Fairytale, by Tanya Robyn Batt. The same story also appears (with much less stirring text and illustrations) in The Golden Bracelet, by David Kherdian and Nonny Hogrogian.
A lazy prince loves only to hunt, and in fact, that is the only thing he knows how to do. That is until he meets a beautiful, clever, and wise weaver's daughter, who won't have anything to do with him until he has proven himself to be a true man by becoming literate and learning a craft or trade.
Smitten with her, and now burning with desire to prove himself worthy, the prince studies hard and learns (and excels at) the craft of loom weaving cloth-of-gold.
He sends her a poem written by him, wrapped in a blanket woven by him, and she accepts his proposal. She teaches him to handle bureaucracy, he teaches her to ride, and to fight.
Then danger stirs on the border, and he goes to investigate. He's caught by a dev (a goblin demon) and forced to work night and day to earn his meager rations. He weaves a beautiful cloth with a secret message for his queen, and tricks the dev into sending it to her for gold. She understands it at once and rides in to the rescue.
The illustrations are beautiful! Dark and evocative, with beautiful prince and maiden, and evil henchmen and dev. The backgrounds are full of "arabian nights" style swirls and flourishes, and they remind me of The Horse and His Boy, and of The Blue Sword and The Hero and the Crown.
My Favorite Band Does Not Exist, Robert Jeschonek
Oh what a weird book. I like it a lot, but I'll fully admit, it's a weird one.
Ok, here goes....
In a world much like ours, with blue skies and green grass, Idea Deity (seriously) is on the run from his parents (Loving and Vengeful Deity, yes, seriously.) and his minders/tutors. Meanwhile, he amuses himself by posting status reports about an imaginary band he's created out of whole cloth - and which is rapidly becoming an internet phenom. Then he meets up with Eunice Truant, a pretty blonde girl with a gothic face tattooed on the back of her head. She's not doing anything important, so she's ready to help him make his escape. He's also reading this really cool fantasy book called Fireskull's Revenant.
In a world much like ours, with green skies and pink grass, Reacher Mirage is the front man of a band that is desperately trying to remain secret. That's hard, with someone online managing to spill all of their set lists, songs, schedules, and lyrics (even the ones he hasn't even finished writing yet!) to everyone in the world! He and his bandmates travel around with their stage manager (and his girlfriend) Eurydice Tarantella, a really cool goth chick with this amazing tattoo of a blonde on the back of her head. As he tours, he tries to get up his courage to actually perform live, without a disguise. He's also reading this really nifty book called Fireskull's Revenant.
In a world with bright orange fiery skies and lots of dead grass, Lord Fireskull and his arch-nemesis Johnny Without (yes, really) battle pretty much continually over their shared border. They get each get advice from a Scrier, who oddly enough doesn't look quite the same to each of them, and conflicting advice from a Prophet.
All three of these worlds are deeply entertwined, and only Idea, Reacher, Fireskull, and Johnny can save the universe. First they have to find each other. Then they have to find themselves.
Ok, here goes....
In a world much like ours, with blue skies and green grass, Idea Deity (seriously) is on the run from his parents (Loving and Vengeful Deity, yes, seriously.) and his minders/tutors. Meanwhile, he amuses himself by posting status reports about an imaginary band he's created out of whole cloth - and which is rapidly becoming an internet phenom. Then he meets up with Eunice Truant, a pretty blonde girl with a gothic face tattooed on the back of her head. She's not doing anything important, so she's ready to help him make his escape. He's also reading this really cool fantasy book called Fireskull's Revenant.
In a world much like ours, with green skies and pink grass, Reacher Mirage is the front man of a band that is desperately trying to remain secret. That's hard, with someone online managing to spill all of their set lists, songs, schedules, and lyrics (even the ones he hasn't even finished writing yet!) to everyone in the world! He and his bandmates travel around with their stage manager (and his girlfriend) Eurydice Tarantella, a really cool goth chick with this amazing tattoo of a blonde on the back of her head. As he tours, he tries to get up his courage to actually perform live, without a disguise. He's also reading this really nifty book called Fireskull's Revenant.
In a world with bright orange fiery skies and lots of dead grass, Lord Fireskull and his arch-nemesis Johnny Without (yes, really) battle pretty much continually over their shared border. They get each get advice from a Scrier, who oddly enough doesn't look quite the same to each of them, and conflicting advice from a Prophet.
All three of these worlds are deeply entertwined, and only Idea, Reacher, Fireskull, and Johnny can save the universe. First they have to find each other. Then they have to find themselves.
13 Treasures & 13 Curses, Michelle Harrison
These two are actually pretty good. I wasn't as impressed with the first one, especially since the 13 Treasures in the title actually had very little to do with the storyline. In fact, in some ways, the first story is really just a set-up for the second, but it was an interesting story in it's own right.
For 13 Treasures, Tonya has the second sight, has been desperately trying to find anyone to believe that she is not crazy. She has been tormented by fairies all her life because of her determination to tell. Her mother has had enough, and sends her away for a break in the countryside. A summer away at her grandmother's spooky mansion, with her stern groundskeeper, his irritating son, and a deep dark forest (forbidden of course) filled with danger will show her that her sight doesn't show her everything, and that the fairies can be quite dangerous.
In 13 Curses, we get a lot more background on fairy lore and countermeasures as we follow Red (a secondary character from Treasures) into fairyland to rescue her baby brother, stolen years ago. Red, like Tonya, has the sight, and she is determined to do anything necessary to rescue her brother.
The second installment is actually much better than the first, and Red is in intriguing choice as the hero - she's brusque and haughty, and actively vengeful against anyone who has wronged her - even accidentally. This makes her a little harder to like, but certainly understandable.
The cast from the first is back again, to help her complete her mission, and learn some interesting thigns about her own family, just as Tonya did in the first installment.
Both books have plotlines that are resolved neatly, but there are enough edges of stories (the groundskeeper and his son have yet to feature) to possibly create a third to round out the set. Even without another addition, these are remarkably good overall, despite some little niggles of sloppy plotting and action by off-screen characters.
For 13 Treasures, Tonya has the second sight, has been desperately trying to find anyone to believe that she is not crazy. She has been tormented by fairies all her life because of her determination to tell. Her mother has had enough, and sends her away for a break in the countryside. A summer away at her grandmother's spooky mansion, with her stern groundskeeper, his irritating son, and a deep dark forest (forbidden of course) filled with danger will show her that her sight doesn't show her everything, and that the fairies can be quite dangerous.
In 13 Curses, we get a lot more background on fairy lore and countermeasures as we follow Red (a secondary character from Treasures) into fairyland to rescue her baby brother, stolen years ago. Red, like Tonya, has the sight, and she is determined to do anything necessary to rescue her brother.
The second installment is actually much better than the first, and Red is in intriguing choice as the hero - she's brusque and haughty, and actively vengeful against anyone who has wronged her - even accidentally. This makes her a little harder to like, but certainly understandable.
The cast from the first is back again, to help her complete her mission, and learn some interesting thigns about her own family, just as Tonya did in the first installment.
Both books have plotlines that are resolved neatly, but there are enough edges of stories (the groundskeeper and his son have yet to feature) to possibly create a third to round out the set. Even without another addition, these are remarkably good overall, despite some little niggles of sloppy plotting and action by off-screen characters.
Flurry of Posts...
With the start of the new year, I'm attempting to at least record a few thoughts about any book that I read that I enjoy - it should be an interesting experiment.
Thursday, January 26, 2012
The Emerald Atlas, John Stephens
This is the first of what looks to be a trilogy based on the plot set-up, but there is no word on subsequent titles or release dates as of now. Which is a pity, because I would be on them like white on rice.
An earlier review of mine covered a book: The Lost Children, which I didn't rate too highly. This book is what that book could have been.
The Emerald Atlas is beautiful. A perfect complement to Lemony Snicket, the three children have been snatched from their parents at a very young age, supposedly to keep them safe, but reality doesn't always match up to expectations or suppositions.
Now older, the children have been dumped from orphanage to orphanage, and finally deposited into the hands of a strange pair of elderly caretakers, and nearly immediately fall through time into an adventure that seems more than they will ever be able to survive, let alone resolve.
The children are beautifully individualized: Kate is tough and proud, Michael is intelligent and quietly desperate, and Emma is a peerless fighter. The three use all of their strengths to make their way through a world gone dark and predatory, and emerge at the other end with an identity, and a sense of their own strength (which is good, because they also emerge with a quest waiting for them to complete.)
Lovely, lovely, lovely. Can't wait for the next ones, which I simply hope will live up to the quality of the first, and to my expectations!
An earlier review of mine covered a book: The Lost Children, which I didn't rate too highly. This book is what that book could have been.
The Emerald Atlas is beautiful. A perfect complement to Lemony Snicket, the three children have been snatched from their parents at a very young age, supposedly to keep them safe, but reality doesn't always match up to expectations or suppositions.
Now older, the children have been dumped from orphanage to orphanage, and finally deposited into the hands of a strange pair of elderly caretakers, and nearly immediately fall through time into an adventure that seems more than they will ever be able to survive, let alone resolve.
The children are beautifully individualized: Kate is tough and proud, Michael is intelligent and quietly desperate, and Emma is a peerless fighter. The three use all of their strengths to make their way through a world gone dark and predatory, and emerge at the other end with an identity, and a sense of their own strength (which is good, because they also emerge with a quest waiting for them to complete.)
Lovely, lovely, lovely. Can't wait for the next ones, which I simply hope will live up to the quality of the first, and to my expectations!
Demonglass, Rachel Hawkins (Hex Hall, Book 2)
This is the second of the projected Hex Hall Trilogy, preceded by Hex Hall.
Last time around, Sophie learned she was a witch, and got dumped into reform school. By the end of term, she learned she was actually a demon, so was her dad, and that her powers were orders of magnitude higher (and darker) than she was prepared to deal with. Once her headmaster told her about the Removal, which will either remove her powers, or simply kill her, she was on the first flight to England to sign up.
Nothing goes smoothly in the life of a YA heroine in an urban fantasy book rife with demons, fae, and dangerous monster-hunters, so of course, her plan goes awry from the start.
With Jenna (the pinkest vampire who ever lived) by her side, Sophie marches straight into plot twists, betrayals, and love-triangles galore. I wasn't even overly put off by the love triangle, which should say a lot for how well this was constructed.
Mystical devices and haunting pasts play a large part in this installment, and Sophie ends up, literally on her own, facing the final book of the trilogy with a huge amount of the plot still unresolved, and a surprising amount left mysteriously un-dealt-with. Not sure if this bodes well or poorly for the last book, or if this signals a bloat into a quartet, but I have to say that I am interested.
Last time around, Sophie learned she was a witch, and got dumped into reform school. By the end of term, she learned she was actually a demon, so was her dad, and that her powers were orders of magnitude higher (and darker) than she was prepared to deal with. Once her headmaster told her about the Removal, which will either remove her powers, or simply kill her, she was on the first flight to England to sign up.
Nothing goes smoothly in the life of a YA heroine in an urban fantasy book rife with demons, fae, and dangerous monster-hunters, so of course, her plan goes awry from the start.
With Jenna (the pinkest vampire who ever lived) by her side, Sophie marches straight into plot twists, betrayals, and love-triangles galore. I wasn't even overly put off by the love triangle, which should say a lot for how well this was constructed.
Mystical devices and haunting pasts play a large part in this installment, and Sophie ends up, literally on her own, facing the final book of the trilogy with a huge amount of the plot still unresolved, and a surprising amount left mysteriously un-dealt-with. Not sure if this bodes well or poorly for the last book, or if this signals a bloat into a quartet, but I have to say that I am interested.
Hex Hall, Rachel Hawkins
Hex Hall is the first in a projected trilogy.
Sophie Mercer thought she was a normal girl, living a mostly normal life. In fact, the only strangeness was the moving. Her mother kept them constantly on the run, and Sophie always assumed that her estranged father was to blame. It turns out that was only partially true.
Sophie isn't really human. When her powers erupt, she's nabbed by the magical powers that be, informed of her transgressions, and dumped into a reform school for uncontrollable magical youngsters - werewolves, witches (white and dark) vampires, and fae (who really do have wings). As the semester proceeds, Sophie makes friends with a kawaii bubblegum princess vampire, avoids the roving gangs of werewolves, and falls in love with foreign transfer student Archer.
Sadly, Archer is intended for someone else (arranged marriages are all the rage for magical families) and even more sadly, terrible things begin to happen at school. Throughout, Sophie's powers range from nonexistent to totally uncontrollable and riotous, forcing her to use her wits and her friends to solve her difficulties.
By the end, Sophie will know a lot more about herself, but the learning may cost her a lot of herself.
This reminded me strongly of the Gallagher Girls series - lighthearted and fun, and then a strong dash of cold serious plot to the face. An interesting way to write, and certainly engaging. I also liked Sophie's development and that her "issues" all had very real basis in how her life had gone thus far.
Sophie Mercer thought she was a normal girl, living a mostly normal life. In fact, the only strangeness was the moving. Her mother kept them constantly on the run, and Sophie always assumed that her estranged father was to blame. It turns out that was only partially true.
Sophie isn't really human. When her powers erupt, she's nabbed by the magical powers that be, informed of her transgressions, and dumped into a reform school for uncontrollable magical youngsters - werewolves, witches (white and dark) vampires, and fae (who really do have wings). As the semester proceeds, Sophie makes friends with a kawaii bubblegum princess vampire, avoids the roving gangs of werewolves, and falls in love with foreign transfer student Archer.
Sadly, Archer is intended for someone else (arranged marriages are all the rage for magical families) and even more sadly, terrible things begin to happen at school. Throughout, Sophie's powers range from nonexistent to totally uncontrollable and riotous, forcing her to use her wits and her friends to solve her difficulties.
By the end, Sophie will know a lot more about herself, but the learning may cost her a lot of herself.
This reminded me strongly of the Gallagher Girls series - lighthearted and fun, and then a strong dash of cold serious plot to the face. An interesting way to write, and certainly engaging. I also liked Sophie's development and that her "issues" all had very real basis in how her life had gone thus far.
Lady Knight, Tamora Pierce (Protector of the Small, Book 4)
I never put up a review for the final book of the Protector of the Small series because, frankly, Pierce doesn't do so well with her endings. I felt very "meh" about the whole story, and honestly have a hard time remembering details of it. For all of my vivid memories of the other installments, I have to call that a failure, or at least a fall-back from the highs of the series up to this point.
I would not go so far as to not recommend it - it is the finishing point to the series, but by now, Kel is grown, she's overcome her fears completely, she's dutiful to a fault (even in her interior monologue) and the story is stretched much farther than it should have been to cover a hum-drum posting, a crisis of conscience, and a new stray rescued.
Because Kel has developed into such a good well-rounded person, she's not as interesting anymore. Heck, even Alanna is more interesting in her bit parts because she still has her temper! It's hard to root for someone you don't think will ever fail, or ever struggle, or ever show doubt, and has perfect faithful companions and subordinates who would die for them.
So, while the writing and the plotting aren't bad, they are much too flabby, and do very little to disguise a burgeoning Mary Sue, and an uninteresting one at that. Sadly, reading Lady Knight made me glad that this was the last book of the series - I was afraid of what would happen if it went on any further.
I would not go so far as to not recommend it - it is the finishing point to the series, but by now, Kel is grown, she's overcome her fears completely, she's dutiful to a fault (even in her interior monologue) and the story is stretched much farther than it should have been to cover a hum-drum posting, a crisis of conscience, and a new stray rescued.
Because Kel has developed into such a good well-rounded person, she's not as interesting anymore. Heck, even Alanna is more interesting in her bit parts because she still has her temper! It's hard to root for someone you don't think will ever fail, or ever struggle, or ever show doubt, and has perfect faithful companions and subordinates who would die for them.
So, while the writing and the plotting aren't bad, they are much too flabby, and do very little to disguise a burgeoning Mary Sue, and an uninteresting one at that. Sadly, reading Lady Knight made me glad that this was the last book of the series - I was afraid of what would happen if it went on any further.
Previously Published Review: Squire, Tamora Pierce (Protector of the Small, Book 3)
If you're reading these reviews, you've either read the previous two books, or are still trying to see if you should. Either way, this book is a very good read on its own, and a decent further look at our heroine Kel.
Sadly, I found it not to the standards of the first two. Firstly, the posting Kel recieves is 'tailor-made' to groom her for further adventures. Nothing as serious as the climax of Page ever happens, which makes it difficult for her character to grow in this installment. Her difficulties now are in reconciling her crushes (in regards to, I'll remind readers of how many boys you were 'in love with' at age 14 through 18, and how many of those crushes lasted past summer vacation, let alone an entire year). She also learns the quiet skill of picking her battles, and there is a sadly anti-climactic result for her long-standing enemy. Fitting, but still anti-climactic.
The world is strangely light-hearted, despite onrushing wartime, Kel is strangely capable in a world she's never directly experienced, and ALL of the men she works with accept her without reservations after only a few months of her arrival. This all contrasts with the mood that Pierce cultivated in the first two installments, and I was strangely sad to see it shattered so easily. This almost felt like an intrusion, or a "rest period" for the character.
The mood changes again towards the end, where the build-up to Lady Knight begins, re-establishing the familiar tension faced by our soon-to-be Lady Knight.
**As I have for previous books, here is my 'cautious parent' warning. This book deals frankly with crushes, and the possible results of acting on them. The character deals with it in a 'family-appropriate' way, by asking her mother, but the simple inclusion of this "big talk" and the other references to kissing and passionate emotions may upset some parents. Please Please Please, if you think this will be a concern for you, or if your child is delicate or easily frightened, please be aware that this book is directed more towards OLDER pre-teens. The character is 18 at the end of the book, and considered an adult from the age of 14 when the book begins.
Finally, the climax scene, while not as challenging for the character, deals with magic and necromancy, and this may disturb some readers (or their parents). Be warned - read it first!
Sadly, I found it not to the standards of the first two. Firstly, the posting Kel recieves is 'tailor-made' to groom her for further adventures. Nothing as serious as the climax of Page ever happens, which makes it difficult for her character to grow in this installment. Her difficulties now are in reconciling her crushes (in regards to, I'll remind readers of how many boys you were 'in love with' at age 14 through 18, and how many of those crushes lasted past summer vacation, let alone an entire year). She also learns the quiet skill of picking her battles, and there is a sadly anti-climactic result for her long-standing enemy. Fitting, but still anti-climactic.
The world is strangely light-hearted, despite onrushing wartime, Kel is strangely capable in a world she's never directly experienced, and ALL of the men she works with accept her without reservations after only a few months of her arrival. This all contrasts with the mood that Pierce cultivated in the first two installments, and I was strangely sad to see it shattered so easily. This almost felt like an intrusion, or a "rest period" for the character.
The mood changes again towards the end, where the build-up to Lady Knight begins, re-establishing the familiar tension faced by our soon-to-be Lady Knight.
**As I have for previous books, here is my 'cautious parent' warning. This book deals frankly with crushes, and the possible results of acting on them. The character deals with it in a 'family-appropriate' way, by asking her mother, but the simple inclusion of this "big talk" and the other references to kissing and passionate emotions may upset some parents. Please Please Please, if you think this will be a concern for you, or if your child is delicate or easily frightened, please be aware that this book is directed more towards OLDER pre-teens. The character is 18 at the end of the book, and considered an adult from the age of 14 when the book begins.
Finally, the climax scene, while not as challenging for the character, deals with magic and necromancy, and this may disturb some readers (or their parents). Be warned - read it first!
Previously Published Review: Bait and Switch, Barbara Ehrenreich
The author's original premise was to illustrate the evils of a common white collar experience. A qualified individual applies for a job, and while accepted, is told (the Switch) that the position applied for is unavailable, but they'd be perfect for this slightly less valuable position over here (part-time vs full time work, high premium health care vs full coverage, and other demeaning offers.) What to do? Take the lesser job and HAVE a job, or wait and hope for another better offer in an increasingly competitive market?
Instead of landing a switched job, Barbara learns that landing ANY job is becoming a long, and often frustrating, helpless, anxious, and increasingly hopeless search. This leads to her new book premise - an even worse "Switch" which profoundly affects the middle class. The reference here is to the growing illusion of available jobs. Current market statistics state a search time of 3 months on average when looking for a job. That search time is based on a reasonably qualified individual, with current and appropriate background and experience.
She wasn't intending to write about long-term unemployment, but it is a valid topic, and well worth attention. So, this book, ironically, is a bait and switch, but one I was glad to see.
Several reviewers have questioned the author's political bias, her religious views, and even her failure to get a job. They cite these factors as reasons why her topic is flawed. I beg pardon, but one's religion and political affiliation are NOT valid or LEGAL employment screenings, and as a journalist and skilled writer, I find it hard to believe her resume and cover letter skills were lacking. I also find it hard to believe that with years of journalistic experience, she would be lacking in people skills necessary to at least gain a toehold in the job counselling market. Lastly, that market is currently one which is posting the most gain in the labour field - it isn't like she's limiting herself to an obscure position.
With all that in her favor, and 5,000 dollars to cushion her search, she is in actually better position than many searchers today. Who, when suddenly laid off, has a cover letter ready, and thousands of dollars earmarked just for a job search? Not many, in today's culture.
Her failure to find a job, despite qualifications, reveals a chronic disorder affecting millions today. The middle class job market no longer values the human element. Their increasing reliance on pseudo-scientific "personality studies" and "aptitude questionaires" are often revealed to be a front for a very specific search. I know, I was a middle manager, and I handed those surveys out for nearly a year. I knew they were worthless, my manager knew they were worthless, but we were looking for people who would take a 9 page survey without question, and nod in agreement when told what their personality was going to be. We wanted sheep, and we selected for it. I didn't like it, but I also didn't want to be on the other end of that interview. I had a job, thank you, and I didn't need the anguish I saw in my interviewees faces. Months later, the stress did cause me to leave, and I then spent 4 months where my full time job was job-hunting.
Barbara very clearly illustrates the damage wrought by these, and other spurious "networking" or "job-counseling" practices, but her story stops short of really penetrating the corporate culture to explain the WHY of these practices. It would be an interesting revelation, but one she was sadly unqualified to make. Understandably - she was unable, like many of us, to get a job.
Perhaps, if she just gives herself enough time, she'll finally make it in. Just like the rest of us don't.
Instead of landing a switched job, Barbara learns that landing ANY job is becoming a long, and often frustrating, helpless, anxious, and increasingly hopeless search. This leads to her new book premise - an even worse "Switch" which profoundly affects the middle class. The reference here is to the growing illusion of available jobs. Current market statistics state a search time of 3 months on average when looking for a job. That search time is based on a reasonably qualified individual, with current and appropriate background and experience.
She wasn't intending to write about long-term unemployment, but it is a valid topic, and well worth attention. So, this book, ironically, is a bait and switch, but one I was glad to see.
Several reviewers have questioned the author's political bias, her religious views, and even her failure to get a job. They cite these factors as reasons why her topic is flawed. I beg pardon, but one's religion and political affiliation are NOT valid or LEGAL employment screenings, and as a journalist and skilled writer, I find it hard to believe her resume and cover letter skills were lacking. I also find it hard to believe that with years of journalistic experience, she would be lacking in people skills necessary to at least gain a toehold in the job counselling market. Lastly, that market is currently one which is posting the most gain in the labour field - it isn't like she's limiting herself to an obscure position.
With all that in her favor, and 5,000 dollars to cushion her search, she is in actually better position than many searchers today. Who, when suddenly laid off, has a cover letter ready, and thousands of dollars earmarked just for a job search? Not many, in today's culture.
Her failure to find a job, despite qualifications, reveals a chronic disorder affecting millions today. The middle class job market no longer values the human element. Their increasing reliance on pseudo-scientific "personality studies" and "aptitude questionaires" are often revealed to be a front for a very specific search. I know, I was a middle manager, and I handed those surveys out for nearly a year. I knew they were worthless, my manager knew they were worthless, but we were looking for people who would take a 9 page survey without question, and nod in agreement when told what their personality was going to be. We wanted sheep, and we selected for it. I didn't like it, but I also didn't want to be on the other end of that interview. I had a job, thank you, and I didn't need the anguish I saw in my interviewees faces. Months later, the stress did cause me to leave, and I then spent 4 months where my full time job was job-hunting.
Barbara very clearly illustrates the damage wrought by these, and other spurious "networking" or "job-counseling" practices, but her story stops short of really penetrating the corporate culture to explain the WHY of these practices. It would be an interesting revelation, but one she was sadly unqualified to make. Understandably - she was unable, like many of us, to get a job.
Perhaps, if she just gives herself enough time, she'll finally make it in. Just like the rest of us don't.
Previously Publishe Review: The Hollow Kingdom Trilogy; The Hollow Kingdom, Close Kin, In the Coils of the Snake, Clare B. Dunkle
As an avid and insatiable reader with a tendency towards fantasy, I have hit my fair share of male-dominated literature. Heroes, not heroines, are prevalent. I understand and accept this, but it is nice to have female role-models in my preferred reading. So I was overjoyed at the prospect of reading a new series which focus on women!
I have happy memories of Tamora Pierce's novels and young adult fantasy tales. Perhaps this would add to my collection of books to share with my daughter eventually! Sadly, the further I read into this series, the more depressed I became. I rate the entire series as a whole with three stars because the writing is very solid, the characters are personable, and my own personal quirk; the story is NOT the traditional 'hero - quest - action - happy ending.' I am very taken with the writing, and the style of the tale. However, anyone with strong feminist tendencies will NOT enjoy this series, as the main theme is that of weak women, either through nature; portrayed by elven women, or through environment; displayed with shocking forthrightness by the 'human' sisters and eventual girl-children showcased in the story).
These women, time and again, are captured, kidnapped, stolen from their family/culture/preferred reality in order to be forcibly (in yet another brutal and shocking scene from the story - the wedding itself is a horrid travesty) wed to creatures dependent on outside blood to "strenghten" their genetic line. Despite this brutal introduction to the men of the tale, hardly any time passes before the women (perhaps weak in emotional control and mental powers as well? It's certainly suggested in the storyline) fall helplessly in love with their husbands, and proceed to aid their brutal adopted culture in inflicting the same fate on other helpless women.
In a way, I was almost anguished at the quality of this series. It BEGS you to like it, with lyrical prose and a gifted ability to show feeling as well as sense of place. To use such skills to portray a tale so deeply against everything modern women STILL fight to gain... it was saddening. The final straw was the author's website, where she commented that the tales were meant for her own teen and college aged daughters!
Read and enjoy, but THINK about what the author presents for you to accept.
I have happy memories of Tamora Pierce's novels and young adult fantasy tales. Perhaps this would add to my collection of books to share with my daughter eventually! Sadly, the further I read into this series, the more depressed I became. I rate the entire series as a whole with three stars because the writing is very solid, the characters are personable, and my own personal quirk; the story is NOT the traditional 'hero - quest - action - happy ending.' I am very taken with the writing, and the style of the tale. However, anyone with strong feminist tendencies will NOT enjoy this series, as the main theme is that of weak women, either through nature; portrayed by elven women, or through environment; displayed with shocking forthrightness by the 'human' sisters and eventual girl-children showcased in the story).
These women, time and again, are captured, kidnapped, stolen from their family/culture/preferred reality in order to be forcibly (in yet another brutal and shocking scene from the story - the wedding itself is a horrid travesty) wed to creatures dependent on outside blood to "strenghten" their genetic line. Despite this brutal introduction to the men of the tale, hardly any time passes before the women (perhaps weak in emotional control and mental powers as well? It's certainly suggested in the storyline) fall helplessly in love with their husbands, and proceed to aid their brutal adopted culture in inflicting the same fate on other helpless women.
In a way, I was almost anguished at the quality of this series. It BEGS you to like it, with lyrical prose and a gifted ability to show feeling as well as sense of place. To use such skills to portray a tale so deeply against everything modern women STILL fight to gain... it was saddening. The final straw was the author's website, where she commented that the tales were meant for her own teen and college aged daughters!
Read and enjoy, but THINK about what the author presents for you to accept.
Previously Published Review: Page, Tamora Pierce (Protector of the Small, Book 2)
I gave the first of this series 5 stars, and reluctantly subtract one for the execution of her second. The premise is sound - she planned to deal with Kel as a child, a Page, a Squire, and finally as Lady Knight, but the pace and high drama of this book left many things feeling a bit rushed.
Firstly, expect the content to be notably more mature than in First Test. Kel deals with hitting puberty, hitting boys, being hit by boys, and a brutal regimen of forcing down her phobias. This, in addition to intense training, having (and dealing) with crushes on her fellow Pages, and proving over and over and over that she can and will "run with the big boys."
Despite cramming several years worth of experience (literally) into this book, Pierce does an admirable job of containing and streamlining it. The years are well defined, and the individual 'quests' are tightly written and clear. This book also handles the development of Kel's unique abilities in command. Her growing sympathy for commoners and the weak is showcased in a series of growing climaxes. The ending sequence is especially well-done, and younger readers will be very impressed with Kel's maturity and self-sacrifice.
Again, I find that Pierce writes extremely appropraitely for the age-level (estimating by Kel's own age, the pre-teen market) and I find that her focus on morality and strength of conviction in difficult circumstances is fitting for younger readers. I wholeheartedly suggest these books for parents wishing to instil those ideals in their children, in addition to reading them because they are simply VERY nicely crafted books.
**Lastly, as I warned for First Test = Parents who are very careful of the sexual, homosexual, or magical encounters their children have - PLEASE read these books before handing them over to your kids. I personally see nothing wrong with her handling of delicate issues, but you might. And to set your child on a series of entertaining books, and then later ban them for dealing with unfortunate subjects - this makes rebellious and NEEDLESSLY unhappy children. Please, if you are sensitive to sexual references (including a brief mention of homosexuality and extremely frank dealings with rape) and/or the use and presence of magic, please make sure YOU read this first.
Firstly, expect the content to be notably more mature than in First Test. Kel deals with hitting puberty, hitting boys, being hit by boys, and a brutal regimen of forcing down her phobias. This, in addition to intense training, having (and dealing) with crushes on her fellow Pages, and proving over and over and over that she can and will "run with the big boys."
Despite cramming several years worth of experience (literally) into this book, Pierce does an admirable job of containing and streamlining it. The years are well defined, and the individual 'quests' are tightly written and clear. This book also handles the development of Kel's unique abilities in command. Her growing sympathy for commoners and the weak is showcased in a series of growing climaxes. The ending sequence is especially well-done, and younger readers will be very impressed with Kel's maturity and self-sacrifice.
Again, I find that Pierce writes extremely appropraitely for the age-level (estimating by Kel's own age, the pre-teen market) and I find that her focus on morality and strength of conviction in difficult circumstances is fitting for younger readers. I wholeheartedly suggest these books for parents wishing to instil those ideals in their children, in addition to reading them because they are simply VERY nicely crafted books.
**Lastly, as I warned for First Test = Parents who are very careful of the sexual, homosexual, or magical encounters their children have - PLEASE read these books before handing them over to your kids. I personally see nothing wrong with her handling of delicate issues, but you might. And to set your child on a series of entertaining books, and then later ban them for dealing with unfortunate subjects - this makes rebellious and NEEDLESSLY unhappy children. Please, if you are sensitive to sexual references (including a brief mention of homosexuality and extremely frank dealings with rape) and/or the use and presence of magic, please make sure YOU read this first.
Previously Published Review: First Test, Tamora Pierce (Protector of the Small, Book 1)
Tamora Pierce should be saluted for her many accomplished entries into the world of fantasy, not least of which is her steadfast reliance on capable, motivated, realistic FEMALE lead characters. Modern fantasy readers (especially us girls) have much to be grateful for - until pioneers like Pierce and McCaffrey broke through the 'crystal ceiling' seeing a HEROINE was achingly rare.
Besides her realization that ladies also like to have plucky role models, Pierce remains a talented writer. Fans of the Lioness Quartet will appreciate this "sequel" (but don't expect too much of Alanna - she's forbidden to speak to Kel!). Newcomers to the world of Tortall will find themselves welcomed, and making quick sense of a fairly traditional 'sword and sorcery' realm.
Other raters have noted the relative lightness of the tale, and the easy challenges that Kel must overcome. While I too have the same thoughts, I must remind readers that while these books can be read and enjoyed by ALL age groups, they were ORIGINALLY intended for the pre-teen group.
Personally, thinking back to childhood, the challenges seem quite age-appropriate, and could even relate to modern challenges. Kel sees and handles bullies, thinks about fairness and moral standards, sticks up for the underdog, and also deals with a personal phobia. Not bad for a 12 year old.
Other readers have taken issue with the 'flaws' in the medieval or derivative nature of the book. Even as an adult, however, people relate best to what they understand, and forcing a book for pre-teens into a 'realistic' portrayal of medieval society would be tiresome and BORING. Also, I find the inclusion of the Yamani (Japanese) culture to be refreshing, as it is treated as a source of strength for Kel, as well as a learning experience in dealing with culture differences.
As always, Pierce has done a wonderful job creating a girl-friendly world (even for a 26 year old girl!), written in a refreshing and engaging manner, without dumbing-down or condescending to her audience. Bravo.
** Very conservative parents, or those carefully monitoring their children's reading before "the talk" may wish to read this series (as well as the Alanna quartet, or ANY Pierce book) before letting their children start. As Kel grows older (the later books), her concerns naturally turn to teenage matters, and Pierce does not mince words. I found it still appropriate, and even sweet, but I know people are often careful of such things. Also later in the series, a fleeting mention is made of homosexuality. Finally, the later depictions of magic for defense and healing, and the use of necromancy (by the evil forces) are intense and fairly graphic. It is cruel to allow a child to start a series, then ban it later for containing information you'd rather not deal with. If these things bother you, be aware of them from the start and find other means to entertain your children.
Besides her realization that ladies also like to have plucky role models, Pierce remains a talented writer. Fans of the Lioness Quartet will appreciate this "sequel" (but don't expect too much of Alanna - she's forbidden to speak to Kel!). Newcomers to the world of Tortall will find themselves welcomed, and making quick sense of a fairly traditional 'sword and sorcery' realm.
Other raters have noted the relative lightness of the tale, and the easy challenges that Kel must overcome. While I too have the same thoughts, I must remind readers that while these books can be read and enjoyed by ALL age groups, they were ORIGINALLY intended for the pre-teen group.
Personally, thinking back to childhood, the challenges seem quite age-appropriate, and could even relate to modern challenges. Kel sees and handles bullies, thinks about fairness and moral standards, sticks up for the underdog, and also deals with a personal phobia. Not bad for a 12 year old.
Other readers have taken issue with the 'flaws' in the medieval or derivative nature of the book. Even as an adult, however, people relate best to what they understand, and forcing a book for pre-teens into a 'realistic' portrayal of medieval society would be tiresome and BORING. Also, I find the inclusion of the Yamani (Japanese) culture to be refreshing, as it is treated as a source of strength for Kel, as well as a learning experience in dealing with culture differences.
As always, Pierce has done a wonderful job creating a girl-friendly world (even for a 26 year old girl!), written in a refreshing and engaging manner, without dumbing-down or condescending to her audience. Bravo.
** Very conservative parents, or those carefully monitoring their children's reading before "the talk" may wish to read this series (as well as the Alanna quartet, or ANY Pierce book) before letting their children start. As Kel grows older (the later books), her concerns naturally turn to teenage matters, and Pierce does not mince words. I found it still appropriate, and even sweet, but I know people are often careful of such things. Also later in the series, a fleeting mention is made of homosexuality. Finally, the later depictions of magic for defense and healing, and the use of necromancy (by the evil forces) are intense and fairly graphic. It is cruel to allow a child to start a series, then ban it later for containing information you'd rather not deal with. If these things bother you, be aware of them from the start and find other means to entertain your children.
Previously Published Review: The Ruins of Gorlan, John Flanagan
Of the book(s) themselves - I read The Ruins of Gorlan and the sequel, The Burning Bridge in a night - I have very few complaints. The other rewiewers are correct. These are juvenile books, intended for younger boys, and I found the pace and tone of them to be highly appropriate for that age-range.
The core of the first book - a coming of age tale - may be a bit slow for modern impatient boys, as the action and suspense don't pick up til nearly the end of the book. The focus is on Will, who realizes that he doesn't have to be a knight to be a good person, and a good warrior. As he grows, he learns more about his history, his kingdom, and his character. Because it is a character focus, there isn't much action/adventure for most of the book. Despite this, it is a strong introduction, and was very similar to the feel of C.S. Lewis' intro, The Lion the Witch and the Wardrobe. Both stories contain little actual action, but feel interesting and full.
The second book has more action, and develops a few more characters. I read these two, and I am reminded highly of the old "serial" novels which were released as magazine articles in the past centuries. These stories have that same highly structured, episodic feel. Excellent for reading aloud over a series of nights, a bit repetitive for an older lady devouring two books in an evening. Despite the style, the author writes very well, refusing to tone down his language or historical details to make the story easier to read. The second tale quite definitively rids the world of the overarching threat which has been the tension of the story thus far, but events create a more personal threat to our growing hero and his friends, and the story ends on a cliffhanger similar to the Lemony Snicket Unfortunate Events tales.
The core of the first book - a coming of age tale - may be a bit slow for modern impatient boys, as the action and suspense don't pick up til nearly the end of the book. The focus is on Will, who realizes that he doesn't have to be a knight to be a good person, and a good warrior. As he grows, he learns more about his history, his kingdom, and his character. Because it is a character focus, there isn't much action/adventure for most of the book. Despite this, it is a strong introduction, and was very similar to the feel of C.S. Lewis' intro, The Lion the Witch and the Wardrobe. Both stories contain little actual action, but feel interesting and full.
The second book has more action, and develops a few more characters. I read these two, and I am reminded highly of the old "serial" novels which were released as magazine articles in the past centuries. These stories have that same highly structured, episodic feel. Excellent for reading aloud over a series of nights, a bit repetitive for an older lady devouring two books in an evening. Despite the style, the author writes very well, refusing to tone down his language or historical details to make the story easier to read. The second tale quite definitively rids the world of the overarching threat which has been the tension of the story thus far, but events create a more personal threat to our growing hero and his friends, and the story ends on a cliffhanger similar to the Lemony Snicket Unfortunate Events tales.
Previously Publishe Review: From the Hips, Rebecca Odes
As someone not particularly interested in pain and hospitals (or even children) I read this book more for reassurance than any other reason. For that purpose, I'd suggest that others are better off with a grade-school textbook which glosses over all the unpleasant bits.
There are scads of comments from pregnant or recently pregnant women splashed about the book discussing everything from conception to sore nipples, and amazingly enough, most of them were negative.
I can't imagine why, in this modern, image-overconscious, sexually laden, instant-gratification, pain-killing society, women would feel negatively about their bodies distending, erratic sex-drives, 9-month "baby vessel" status, followed by a painful labor process (where 10 hours is still considered short...) and then a loss of personal space, sex-drive (again) and sore nipples. Oh, wait. Yes I can imagine. Ouch. Yikes.
All that scary commentary aside, this book really is useful. There is an amazing wealth and variety of information presented in a strangely bias-free (mostly) environment, usually with comments from parents who tried it, with varying results.
Nausea remedies, natural birth options, water-bith discussions, hospital information, introduction to different epidural styles, the use (and general uselessness) of a "birth planning" document - its all in there.
Also in there are reams of info on new babies - you know - the ultimate wrinkly shrieking goal of the whole enterprise. Yeah. There's the requisite breast-feeding vs formula debate, a how to get your baby to sleep section (co-sleeping, SIDS, how many hours of sleep mom will lose (300 in the first year) whether they should be on a sleep-schedule...) and many references to the necessities of work, daycares, nannys, au pairs, and all that "alloparenting" information needed in this 2-income society of ours. Strangely, since all of this is so culturally "hot-button," treated in an amazingly unbiased manner.
So, all in all, despite me being a wimp and easily traumatized by their candid treatment of it all, I can see that this is an amazing resource, and one I'll be glad for when (if) I ever take that plunge.
There are scads of comments from pregnant or recently pregnant women splashed about the book discussing everything from conception to sore nipples, and amazingly enough, most of them were negative.
I can't imagine why, in this modern, image-overconscious, sexually laden, instant-gratification, pain-killing society, women would feel negatively about their bodies distending, erratic sex-drives, 9-month "baby vessel" status, followed by a painful labor process (where 10 hours is still considered short...) and then a loss of personal space, sex-drive (again) and sore nipples. Oh, wait. Yes I can imagine. Ouch. Yikes.
All that scary commentary aside, this book really is useful. There is an amazing wealth and variety of information presented in a strangely bias-free (mostly) environment, usually with comments from parents who tried it, with varying results.
Nausea remedies, natural birth options, water-bith discussions, hospital information, introduction to different epidural styles, the use (and general uselessness) of a "birth planning" document - its all in there.
Also in there are reams of info on new babies - you know - the ultimate wrinkly shrieking goal of the whole enterprise. Yeah. There's the requisite breast-feeding vs formula debate, a how to get your baby to sleep section (co-sleeping, SIDS, how many hours of sleep mom will lose (300 in the first year) whether they should be on a sleep-schedule...) and many references to the necessities of work, daycares, nannys, au pairs, and all that "alloparenting" information needed in this 2-income society of ours. Strangely, since all of this is so culturally "hot-button," treated in an amazingly unbiased manner.
So, all in all, despite me being a wimp and easily traumatized by their candid treatment of it all, I can see that this is an amazing resource, and one I'll be glad for when (if) I ever take that plunge.
Previously Published Review: On My Own: The Art of Being a Woman Alone, Florence Arlene Falk
The Art of Being a Woman Alone - now there's a subject which needed to be addressed. Women today (and for most of recorded history) have been culturally expected - even driven - to sacrifice themselves for others. More recently, ideals emerged which allowed women to seek their own interests and careers, and in todays world, most women know instinctively that they HAVE to be able to support themselves (and children if they have them) as men are no longer required to support them.
This, understandably, creates pressure.
In our modern drive to have everything, women have lost their Self. By losing one's Self, according to Falk, a person loses the ability to stand alone, to be self-sufficient, to enjoy solitude without being lonely and bereft. In addition, when one's Self is damaged or missing, there is nothing protecting you from psychic damage from friends, lovers, and the world in general.
In many ways, our culture resists the import of a woman who is able to stand alone. If you are valuing your own self, you are selfish - a horrible accusation to make of any girl or mother. If you cultivate your own interests, or enjoy your own company, you are self-absorbed - again, a negative. Falk wants us to take joy in selfishness, as we re-imagine ourselves and make peace with who we truly are. She wishes that more women would take time to be self-absorbed, to glory in the creative, WHOLE person who has been submerged for so long by our society, our relationships, and abuse.
Which brings me to the "almost inspiring." Falk finds it necessary to trace in microscopic detail the failed relationships, parental and peer abuse, and overarching societal pressure which causes modern women to lose their Self. This is an amazing downer in a book intended to inspire. In those pages (which are a majority of the book) there is a passivity - a helplessness in the face of a powerful and malevolent grinding cultural poverty. Comparing this to her stirring call for Self-awareness, I found it difficult when she failed to transfer this individual awareness into culture at large.
One example speaks of a girl, gifted and pretty, from an "academic" hippie family, and the teasing and social abuse she suffered at middle and high school. The girl, now a middle-aged woman, is only now dealing with this pain. Nowhere is it suggested that if the girl had a Self-aware mentor, she could have learned to stand ALONE and to rise above the taunts of her peers. Repeatedly, women and girls in her examples are left with gaping psychic wounds which are bemoaned as evil and spirit-breaking, but with no counter-examples to show HOW, if one is taught to grow into her Self from the start, those wounds could be minimized or avoided.
Much of this comes from the author's own experiences, as late in life she rediscovered herself and fought free of years of living for others. I do applaud women who, at any age, realize that no matter what or who is in your life, a healthy person's focus must be on themselves FIRST. However, I think that a celebration of women's rights to be whole people in themselves should try to show how to achieve that from the start, rather than passively accepting the damage until some midlife "eureka" is reached.
In spite of this, this book is stirring and powerful, and begs for women to accept that we CAN be alone and powerful, we CAN be at peace with our true Selves, and we CAN recover from childhood trauma and the pressures of life. This is an important message for everyone.
This, understandably, creates pressure.
In our modern drive to have everything, women have lost their Self. By losing one's Self, according to Falk, a person loses the ability to stand alone, to be self-sufficient, to enjoy solitude without being lonely and bereft. In addition, when one's Self is damaged or missing, there is nothing protecting you from psychic damage from friends, lovers, and the world in general.
In many ways, our culture resists the import of a woman who is able to stand alone. If you are valuing your own self, you are selfish - a horrible accusation to make of any girl or mother. If you cultivate your own interests, or enjoy your own company, you are self-absorbed - again, a negative. Falk wants us to take joy in selfishness, as we re-imagine ourselves and make peace with who we truly are. She wishes that more women would take time to be self-absorbed, to glory in the creative, WHOLE person who has been submerged for so long by our society, our relationships, and abuse.
Which brings me to the "almost inspiring." Falk finds it necessary to trace in microscopic detail the failed relationships, parental and peer abuse, and overarching societal pressure which causes modern women to lose their Self. This is an amazing downer in a book intended to inspire. In those pages (which are a majority of the book) there is a passivity - a helplessness in the face of a powerful and malevolent grinding cultural poverty. Comparing this to her stirring call for Self-awareness, I found it difficult when she failed to transfer this individual awareness into culture at large.
One example speaks of a girl, gifted and pretty, from an "academic" hippie family, and the teasing and social abuse she suffered at middle and high school. The girl, now a middle-aged woman, is only now dealing with this pain. Nowhere is it suggested that if the girl had a Self-aware mentor, she could have learned to stand ALONE and to rise above the taunts of her peers. Repeatedly, women and girls in her examples are left with gaping psychic wounds which are bemoaned as evil and spirit-breaking, but with no counter-examples to show HOW, if one is taught to grow into her Self from the start, those wounds could be minimized or avoided.
Much of this comes from the author's own experiences, as late in life she rediscovered herself and fought free of years of living for others. I do applaud women who, at any age, realize that no matter what or who is in your life, a healthy person's focus must be on themselves FIRST. However, I think that a celebration of women's rights to be whole people in themselves should try to show how to achieve that from the start, rather than passively accepting the damage until some midlife "eureka" is reached.
In spite of this, this book is stirring and powerful, and begs for women to accept that we CAN be alone and powerful, we CAN be at peace with our true Selves, and we CAN recover from childhood trauma and the pressures of life. This is an important message for everyone.
Previously Published Review: Living Off the Land in Space, Gregory L. Matloff
Living off the Land in Space. It conjures biodomes, algae-growing, 'clean' fuels, and a 1970s Original Star Trek view of the infinately hospitable worlds out in the black yonder for us to exploit - er, I meant explore...
Really, how often did you see Kirk in an enviro-suit and oxygen mask whilst cannodling on the surface of Virgos V?
Now, back to the book -
To my slight disappointment, however, there is much more technological discussion, and much less fantastical futuristic musings. Oh well.
Strangely, despite my lack of techie impulses, once I resigned myself to a bit of a slog through the 'hard' side, I did find myself intrigued by the reasoned discussion of various propulsion systems (chem-fuel, ramjets, magnetic-electric tethers, solar sails, ion! drives and more), an explication of the really really really unimaginably vast distances of SPACE (as in roughly 7,000 years - years! worth of travel (at our best modern rates) to reach Alpha Centauri - our nearest stellar neighbor), and a strange little inserted list explaining the levels that ideas, theories, and prototypes all go through before floating off towards our planetary neighbors, handily illustrated by even more interesting types of hardware that most people don't know we're developing.
The book (freely admitted both at beginning and end) is a bit dated, which is both good and bad. Good, because that means that our current levels of space interest are high enough to make this book outdated by the time it hits the presses; bad in that even the casual reader can smile sadly when he comments on the Japanese mission probe "which will return with asteroid samples in June of 2007" ... or not.
Lastly, the neo-hippy vibe of the title does not carry through the book. The exact idea - utilizing resources from space or from our various destinations - is the focus of the book. But - the reason for that focus seems more economic than environmental. There are myriad explanations throughout on the relative efficiency of newer (or less explored) travel options, but not many comments on the lessened environmental impact. And, in a staggering sense of cross-purpose, please note the many casual suggestions about mining the moon and Mars - although not, he does allow, if there is native life.
This juxtaposition was the only real sour note in the book, which was ultimately an entertaining romp through the technologies and theories which will get us into space.
Really, how often did you see Kirk in an enviro-suit and oxygen mask whilst cannodling on the surface of Virgos V?
Now, back to the book -
To my slight disappointment, however, there is much more technological discussion, and much less fantastical futuristic musings. Oh well.
Strangely, despite my lack of techie impulses, once I resigned myself to a bit of a slog through the 'hard' side, I did find myself intrigued by the reasoned discussion of various propulsion systems (chem-fuel, ramjets, magnetic-electric tethers, solar sails, ion! drives and more), an explication of the really really really unimaginably vast distances of SPACE (as in roughly 7,000 years - years! worth of travel (at our best modern rates) to reach Alpha Centauri - our nearest stellar neighbor), and a strange little inserted list explaining the levels that ideas, theories, and prototypes all go through before floating off towards our planetary neighbors, handily illustrated by even more interesting types of hardware that most people don't know we're developing.
The book (freely admitted both at beginning and end) is a bit dated, which is both good and bad. Good, because that means that our current levels of space interest are high enough to make this book outdated by the time it hits the presses; bad in that even the casual reader can smile sadly when he comments on the Japanese mission probe "which will return with asteroid samples in June of 2007" ... or not.
Lastly, the neo-hippy vibe of the title does not carry through the book. The exact idea - utilizing resources from space or from our various destinations - is the focus of the book. But - the reason for that focus seems more economic than environmental. There are myriad explanations throughout on the relative efficiency of newer (or less explored) travel options, but not many comments on the lessened environmental impact. And, in a staggering sense of cross-purpose, please note the many casual suggestions about mining the moon and Mars - although not, he does allow, if there is native life.
This juxtaposition was the only real sour note in the book, which was ultimately an entertaining romp through the technologies and theories which will get us into space.
Previously Published Review: Again (Baby Bear), John Prater
John Prater is a genius.
This is my very favorite Baby Bear book, and I use it constantly for library storytimes.
The expressions and body-language of the bears are priceless, and the illustrations are done with soft edges and muted colors, yet they somehow stay vibrant and interesting.
Baby Bear is a handful, and Grandbear (I love that name) just wants to take a nap in his hammock. Baby Bear wants to play!
Poor Grandbear. But like the loving bear that he is, he patiently and tolerantly plays with blocks, in the sandbox, and even gets a chore done. In the end, he ends up happily snoring in his hammock, Baby Bear snuggled alongside.
All of the Baby Bear books are perfect for winding-down storytimes or before bedtime, because there is no drama, no crisis, no fears brought up to be dealt with - they're very positive and sweet.
There are wonderful children's books which do deal with drama or fears, but it's good to have beautiful options on the sedate side as well.
This is my very favorite Baby Bear book, and I use it constantly for library storytimes.
The expressions and body-language of the bears are priceless, and the illustrations are done with soft edges and muted colors, yet they somehow stay vibrant and interesting.
Baby Bear is a handful, and Grandbear (I love that name) just wants to take a nap in his hammock. Baby Bear wants to play!
Poor Grandbear. But like the loving bear that he is, he patiently and tolerantly plays with blocks, in the sandbox, and even gets a chore done. In the end, he ends up happily snoring in his hammock, Baby Bear snuggled alongside.
All of the Baby Bear books are perfect for winding-down storytimes or before bedtime, because there is no drama, no crisis, no fears brought up to be dealt with - they're very positive and sweet.
There are wonderful children's books which do deal with drama or fears, but it's good to have beautiful options on the sedate side as well.
Previously Published Review: Hull Zero Three, Greg Bear
It's so perfect that it almost hurts - the genetic typing has been done, mankind has evolved, friendships and loves have been established, and everyone is ready to leave Ship and descend into the glorious new world we've been traveling towards and preparing for our arrival since - well, that part's a little hazy, but we're still excited!
Except that now the glorious companionship of that arrival dream shatters, and now, all we have is just one poor befuddled Teacher, birthed either too soon or too late, in a place determined to do him in, either by design or through callous indifference to his mal-adapted self. In an even crueller twist of the knife, even the knowledge of the beautiful dream abandons him when survival depends on him learning and growing up fast. Is Teacher a quick study?
Only movement will save him, as structures irradiate, liquefy, or freeze, bulkheads can cut off at any time or place, gravity comes in crushing waves of inconvenience before vanishing again, and horrifying THINGS appear to crush and rend and destroy and kidnap - or perhaps that's only from his perspective. Just enough information can be teased from conflicting memories and sources (perhaps not all to be trusted) to determine that something is NOT RIGHT. Nothing this horrifying and off-balance could be intended to be right.
Finding out what - that may cost Teacher his life.
In a lovely example of sci-fi thriller, we're shoved into a breakneck ethical quest where love and life, memories (human and computer) your most basic emotions, and even your moral code itself aren't exactly what they should be.
As always, the rag-tag crew which assembles itself into our protagonists are kept busy trying to comprehend their mad surroundings, and to figure out just how to handle that most basic human drive - the will to survive.
My own enjoyment of this basic plotline aside, there are several dangling plot threads and niggles of irritation at premises and complications hinted at and dropped, or ideas left undeveloped, or narrative contrivances which are a touch too contrived... As I said, a bit messy.
These are minor flaws in an otherwise quite satisfying return to the author's roots in hard sci-fi.
Except that now the glorious companionship of that arrival dream shatters, and now, all we have is just one poor befuddled Teacher, birthed either too soon or too late, in a place determined to do him in, either by design or through callous indifference to his mal-adapted self. In an even crueller twist of the knife, even the knowledge of the beautiful dream abandons him when survival depends on him learning and growing up fast. Is Teacher a quick study?
Only movement will save him, as structures irradiate, liquefy, or freeze, bulkheads can cut off at any time or place, gravity comes in crushing waves of inconvenience before vanishing again, and horrifying THINGS appear to crush and rend and destroy and kidnap - or perhaps that's only from his perspective. Just enough information can be teased from conflicting memories and sources (perhaps not all to be trusted) to determine that something is NOT RIGHT. Nothing this horrifying and off-balance could be intended to be right.
Finding out what - that may cost Teacher his life.
In a lovely example of sci-fi thriller, we're shoved into a breakneck ethical quest where love and life, memories (human and computer) your most basic emotions, and even your moral code itself aren't exactly what they should be.
As always, the rag-tag crew which assembles itself into our protagonists are kept busy trying to comprehend their mad surroundings, and to figure out just how to handle that most basic human drive - the will to survive.
My own enjoyment of this basic plotline aside, there are several dangling plot threads and niggles of irritation at premises and complications hinted at and dropped, or ideas left undeveloped, or narrative contrivances which are a touch too contrived... As I said, a bit messy.
These are minor flaws in an otherwise quite satisfying return to the author's roots in hard sci-fi.
Previously Published Review: (Graphic Novel) Storm Front Volume 2, Jim Butcher, Ardian Syaf, Brett Booth
This is the second half of the hardcover compilation of the comic adaptation of the first novel of the Dresden Files, Storm Front, created by Jim Butcher (e'way are not orthy'way), adapted by Mark Powers, and illustrated in sequence by Ardian Syaf (through about the halfway mark of Issue 2 of this volume) and then picked up expertly by Brett Booth (although sadly, we aren't allowed to get too used to him either, as he'll be replaced at the beginning of Fool Moon by a new artist, Chase Conley.)
Did you get all that?
So, if you're considering this graphic novel for your reading pleasure, I would highly suggest picking up the first half (otherwise you'll be a little confused, and miss some great artwork) titled Storm Front: The Gathering Storm. I also suggest going a little further back in the chronology and picking up Welcome to the Jungle, which is a very nice piece of work as well.
Now, on to the actual review.
The story isn't Butcher's best, but it was good enough to get the Dresden Files going (and at book 14 out in July, that's no small feat) and to me at least, this particular story seems tighter and better suited to graphic novel form than to an actual novel. As (almost) a librarian and someone who reads at a frantic pace, that's a big admission to make.
Powers does an amazing job of keeping the characters, the snark, the one-liners, and the noir feel of the novel, while paring it down to the bare bones, and they're some pretty good bones. The baddies are bad, the women are cliched (necessary to the genre) without being wince-worthy, the magical ju-ju is creepy, and the pace builds strongly to the ending, closing out solidly (none of this cliffhanger crap here, but there is an inked teaser for Fool Moon, the next in the series).
The artwork is lovely. I enjoy Syaf's compositions and creatures more, but Booth's interpretation of Harry's and Murphy's faces (and Mac, oddly enough) make me really feel for them as characters. Something about Harry's eyes and that vulnerable heart-shaped face really helps position him as not quite as magically bad-ass as he desperately wants you to believe. I can SEE this Harry being panicked, being worried, being afraid.
I have to say, I'll be sorry to see that go so quickly, but the teaser at the end reassures me that Conley has his own very appropriate interpretation for the hand-off, and it's one that I don't think I'll dislike. Thankfully, each of the subsequent artists has hewn close to the original character idea and the dark, gritty environmental feel visioned by Syaf, so even in the transitions between artists, nothing like the horrors of the "Restoration of Faith" short are in evidence.
I have been anguishing for ages over the much-delayed and many-times imperiled release date of this concluding hardback, but that is entirely due to circumstances beyond any of the artists' controls. I am VERY happy to see this finally out, and to clutch it protectively to my heart. This one's MINE - go get your own copy!
Did you get all that?
So, if you're considering this graphic novel for your reading pleasure, I would highly suggest picking up the first half (otherwise you'll be a little confused, and miss some great artwork) titled Storm Front: The Gathering Storm. I also suggest going a little further back in the chronology and picking up Welcome to the Jungle, which is a very nice piece of work as well.
Now, on to the actual review.
The story isn't Butcher's best, but it was good enough to get the Dresden Files going (and at book 14 out in July, that's no small feat) and to me at least, this particular story seems tighter and better suited to graphic novel form than to an actual novel. As (almost) a librarian and someone who reads at a frantic pace, that's a big admission to make.
Powers does an amazing job of keeping the characters, the snark, the one-liners, and the noir feel of the novel, while paring it down to the bare bones, and they're some pretty good bones. The baddies are bad, the women are cliched (necessary to the genre) without being wince-worthy, the magical ju-ju is creepy, and the pace builds strongly to the ending, closing out solidly (none of this cliffhanger crap here, but there is an inked teaser for Fool Moon, the next in the series).
The artwork is lovely. I enjoy Syaf's compositions and creatures more, but Booth's interpretation of Harry's and Murphy's faces (and Mac, oddly enough) make me really feel for them as characters. Something about Harry's eyes and that vulnerable heart-shaped face really helps position him as not quite as magically bad-ass as he desperately wants you to believe. I can SEE this Harry being panicked, being worried, being afraid.
I have to say, I'll be sorry to see that go so quickly, but the teaser at the end reassures me that Conley has his own very appropriate interpretation for the hand-off, and it's one that I don't think I'll dislike. Thankfully, each of the subsequent artists has hewn close to the original character idea and the dark, gritty environmental feel visioned by Syaf, so even in the transitions between artists, nothing like the horrors of the "Restoration of Faith" short are in evidence.
I have been anguishing for ages over the much-delayed and many-times imperiled release date of this concluding hardback, but that is entirely due to circumstances beyond any of the artists' controls. I am VERY happy to see this finally out, and to clutch it protectively to my heart. This one's MINE - go get your own copy!
Previously Published Review: This Time of Darkness, H.M. Hoover
I'll begin by stating that I was unfortunate as a child to never run across this particular author. As an adult, I have so far read Children/Treasures of Morrow, Orvis, and This Time of Darkness. I have to say, all of them are fun reads, and if I HAD read them as a child, would unreservedly have rated them all as 5s, and been quite enthusiastic about the ideas, characters, and plots presented.
Coming to them as an adult, I notice a lot of little things that I wouldn't have noticed or cared about as a child. (There will be spoilers below, but nothing directly concerning the plot - simply to give examples.)
Several of these little things are contradictions in the maturity level of the intended readers. On the low-maturity end, there is very little exposition or explanation for the state of reality as it is presented. Every physical area gone through is accepted as-is, with no questions or commentary on their history, future, or relatedness to the other areas. While it is appropriate for the characters to not know, as a reader, I wanted to have a bit more background information on what they were seeing and experiencing. Limiting the information by simply hinting at past conflicts makes those places seem more juvenile and safe. In addition to that blandness, the relationship between the leads is strictly platonic, placing it securely into lower-middle-school range.
Contrast that with high-maturity flashes such as the following: Amy's mother wants her gone so that she can have a live-in-boyfriend, people who break even minor rules are straightforwardly assigned to torture in the form of 'treatments' which leave them mentally handicapped, a fellow-student is described as so bright that he was bored in school and spent his time "playing with himself until he was fixed." Now, perhaps I have too many pets, but there's only one thing I see that particular phrase referring to, and it's a little jarring to come across in the middle of an ostensibly middle-school read.
Other slight hangups are in the suspension of disbelief. Several times, events unfold in statistically unlikely ways to pave an easier way for the leads, or to present events and/or concepts for them to ponder. While pondering is well and good, I would have preferred a less heavy-handed method to allow the children to arrive at the same ideas. In a similar vein, having the children put a bit more of their own effort and ingenuity into the actual attempt would have made their adventures a bit more dramatic and purposeful.
Now, despite the above nitpicks, overall this was a highly enjoyable read, and I'm holding on to it to offer as a recommended read for any budding sci-fi, futurist, or dystopian literature fans.
Brief Plot Description: Amy lives in the sealed world with everyone else, including crazies who live on the sidewalks. Space is tight, food and water are scarce and bad, and people are controlled through drugs, media overload, and conditioning. When a boy appears who claims that there is a world outside, everyone thinks he's crazy. Amy gives him a chance, and they make their way up and out: first into a domed pleasure world for the elite, and eventually into the agrarian post-apocalyptic world of the unprotected outdoors where the boy is from.
Coming to them as an adult, I notice a lot of little things that I wouldn't have noticed or cared about as a child. (There will be spoilers below, but nothing directly concerning the plot - simply to give examples.)
Several of these little things are contradictions in the maturity level of the intended readers. On the low-maturity end, there is very little exposition or explanation for the state of reality as it is presented. Every physical area gone through is accepted as-is, with no questions or commentary on their history, future, or relatedness to the other areas. While it is appropriate for the characters to not know, as a reader, I wanted to have a bit more background information on what they were seeing and experiencing. Limiting the information by simply hinting at past conflicts makes those places seem more juvenile and safe. In addition to that blandness, the relationship between the leads is strictly platonic, placing it securely into lower-middle-school range.
Contrast that with high-maturity flashes such as the following: Amy's mother wants her gone so that she can have a live-in-boyfriend, people who break even minor rules are straightforwardly assigned to torture in the form of 'treatments' which leave them mentally handicapped, a fellow-student is described as so bright that he was bored in school and spent his time "playing with himself until he was fixed." Now, perhaps I have too many pets, but there's only one thing I see that particular phrase referring to, and it's a little jarring to come across in the middle of an ostensibly middle-school read.
Other slight hangups are in the suspension of disbelief. Several times, events unfold in statistically unlikely ways to pave an easier way for the leads, or to present events and/or concepts for them to ponder. While pondering is well and good, I would have preferred a less heavy-handed method to allow the children to arrive at the same ideas. In a similar vein, having the children put a bit more of their own effort and ingenuity into the actual attempt would have made their adventures a bit more dramatic and purposeful.
Now, despite the above nitpicks, overall this was a highly enjoyable read, and I'm holding on to it to offer as a recommended read for any budding sci-fi, futurist, or dystopian literature fans.
Brief Plot Description: Amy lives in the sealed world with everyone else, including crazies who live on the sidewalks. Space is tight, food and water are scarce and bad, and people are controlled through drugs, media overload, and conditioning. When a boy appears who claims that there is a world outside, everyone thinks he's crazy. Amy gives him a chance, and they make their way up and out: first into a domed pleasure world for the elite, and eventually into the agrarian post-apocalyptic world of the unprotected outdoors where the boy is from.
Previously Published Review: The Multiplying Glass, Ann Phillips
Pre-teen English girl Elizabeth (no nicknames please) is on vacation with her grandparents and their annoying and overly spoiled lapdog for the summer. It has been raining nearly non-stop, and so Elizabeth takes refuge in the storeroom of a neighbor's junk shop.
There in the back, she finds a tri-fold mirror, and when she looks in, the reflections in the side panels aren't quite her. When one winks at her, she begins an adventure with her two shadow-people, Liza and Liz. One is proper and dutiful (and a little snobby and stuck-up) and the other is a little hellion, demanding and childish, but also playful and fun.
Elizabeth isn't the only one who knows about the mirror's shadow people, and she soon meets and befriends a few neighbor children.
When everything goes horribly wrong (as it usually does in these sorts of tales) her new friends are there for her, and Elizabeth learns that the shadowy parts of our selves, the ones we keep hidden away, usually aren't the nice parts.
This may be a book that you remember from your childhood. Some scenes which stuck out to me when re-reading:
Elizabeth, Liza, and Liz dancing in the storeroom.
The playacting with Robin and Elizabeth, and all their shadows.
The "grotto" in the cellar.
Petsy, the spoiled and grumpy lapdog.
Elizabeth dancing in the Shakespeare play, with Robin playing the fool as Puck.
Ups and Downs:
Ups:
Quick pacing, clear narration (not always easy with two sets of three incarnations of narrators), interesting and individual characters, really nifty storyline idea.
Downs:
A little too hazy for my tastes on the specifics of the shadow-people as well as a bit sloppy in following the established "rules" for their interactions with the world. As a minor downside, there were several side-plots established for their contribution to the main plot, and then dropped like a hot rock afterwards - I would have liked to see a little completion in those plots as well.
There in the back, she finds a tri-fold mirror, and when she looks in, the reflections in the side panels aren't quite her. When one winks at her, she begins an adventure with her two shadow-people, Liza and Liz. One is proper and dutiful (and a little snobby and stuck-up) and the other is a little hellion, demanding and childish, but also playful and fun.
Elizabeth isn't the only one who knows about the mirror's shadow people, and she soon meets and befriends a few neighbor children.
When everything goes horribly wrong (as it usually does in these sorts of tales) her new friends are there for her, and Elizabeth learns that the shadowy parts of our selves, the ones we keep hidden away, usually aren't the nice parts.
This may be a book that you remember from your childhood. Some scenes which stuck out to me when re-reading:
Elizabeth, Liza, and Liz dancing in the storeroom.
The playacting with Robin and Elizabeth, and all their shadows.
The "grotto" in the cellar.
Petsy, the spoiled and grumpy lapdog.
Elizabeth dancing in the Shakespeare play, with Robin playing the fool as Puck.
Ups and Downs:
Ups:
Quick pacing, clear narration (not always easy with two sets of three incarnations of narrators), interesting and individual characters, really nifty storyline idea.
Downs:
A little too hazy for my tastes on the specifics of the shadow-people as well as a bit sloppy in following the established "rules" for their interactions with the world. As a minor downside, there were several side-plots established for their contribution to the main plot, and then dropped like a hot rock afterwards - I would have liked to see a little completion in those plots as well.
Previously Published Review: The Lost Children, Carolyn Cohagen
I want to begin by saying that I'm fairly sure this book suffered from 'first book syndrome,' characterized by what I like to call the "everything and the kitchen sink" school of plotting.
I almost could see the checklist getting ticked off.
Cold and humorless (and therefore mysterious) father figure? Check.
Timid but secretly spunky heroine? Check.
Space-time convolutions? Check.
Mean caretaker women/witch characters? Check.
Creepy children? Doublecheck.
Useless adults? Triplecheck.
That established, it was a decent first attempt, and a fun read. I'm currently trying to not think too closely about the ending, which, like all space-time-convolution stories, doesn't really hold up well when thought about closely. There are also some characterization choices right at the end that don't quite match the characters as we have come to know them through the book. (Slightly more irritating, those character choices, while useful to the angst of the heroine throughout the tale, could have been exised and replaced with very little difficulty, making it all the more jarring to encounter.)
Basic idea: Josephine is a half-orphan, and her father is so distant that she may as well be a real one. She gets new gloves once a week, but can't remember what his voice sounds like. One day, a small boy appears, and whisks her off to a place where children are endangered by magical beasts, and all the adults are powerless to help them. Josephine, Fargus (the little boy she meets), and their friend Ida all quest through this new world to salvage what they can of their own families, and those of the other lost children.
There are some gruesome stories of families murdered or dragged off while the child is hiding and watching, and the villain is quite suprisingly evil. Maybe not a good choice for bedtime stories.
The monsters are fairly terrifying of themselves, but even worse, they are associated with burying children alive in deep holes, and then 'electrocuting' their energy out of them. The burying parts and the electrocution parts are fairly detailed, and pretty creepy.
Only three of the adults in the whole story redeem themselves in any way from passively letting their children be taken into slavery to secure their own continued safety. This is blatantly discussed. Kids with issues about abandonment or separation anxiety may not deal well with this.
Everything ends up extremely neat and pat, with amazing rescues and nice twists of fate for the baddies, but oddly enough, the nice neat "and they all lived happily ever after" for the supporting cast is so cheery and quickly brushed over that it's easily overlooked, while the main characters (we learn at the end) actually have horrible lives, and we don't even find out all the details thereof.
The overall feel is very old-school Grimms fairy tales (the unexpurgated ones) where simply being good and trying to do right doesn't actually mean that everything comes out ok in the end. If you or your kid want a fairy-story with a traditional happily-ever-after ending, you may want to hold off on this one.
I almost could see the checklist getting ticked off.
Cold and humorless (and therefore mysterious) father figure? Check.
Timid but secretly spunky heroine? Check.
Space-time convolutions? Check.
Mean caretaker women/witch characters? Check.
Creepy children? Doublecheck.
Useless adults? Triplecheck.
That established, it was a decent first attempt, and a fun read. I'm currently trying to not think too closely about the ending, which, like all space-time-convolution stories, doesn't really hold up well when thought about closely. There are also some characterization choices right at the end that don't quite match the characters as we have come to know them through the book. (Slightly more irritating, those character choices, while useful to the angst of the heroine throughout the tale, could have been exised and replaced with very little difficulty, making it all the more jarring to encounter.)
Basic idea: Josephine is a half-orphan, and her father is so distant that she may as well be a real one. She gets new gloves once a week, but can't remember what his voice sounds like. One day, a small boy appears, and whisks her off to a place where children are endangered by magical beasts, and all the adults are powerless to help them. Josephine, Fargus (the little boy she meets), and their friend Ida all quest through this new world to salvage what they can of their own families, and those of the other lost children.
There are some gruesome stories of families murdered or dragged off while the child is hiding and watching, and the villain is quite suprisingly evil. Maybe not a good choice for bedtime stories.
The monsters are fairly terrifying of themselves, but even worse, they are associated with burying children alive in deep holes, and then 'electrocuting' their energy out of them. The burying parts and the electrocution parts are fairly detailed, and pretty creepy.
Only three of the adults in the whole story redeem themselves in any way from passively letting their children be taken into slavery to secure their own continued safety. This is blatantly discussed. Kids with issues about abandonment or separation anxiety may not deal well with this.
Everything ends up extremely neat and pat, with amazing rescues and nice twists of fate for the baddies, but oddly enough, the nice neat "and they all lived happily ever after" for the supporting cast is so cheery and quickly brushed over that it's easily overlooked, while the main characters (we learn at the end) actually have horrible lives, and we don't even find out all the details thereof.
The overall feel is very old-school Grimms fairy tales (the unexpurgated ones) where simply being good and trying to do right doesn't actually mean that everything comes out ok in the end. If you or your kid want a fairy-story with a traditional happily-ever-after ending, you may want to hold off on this one.
Previously Published Review: Heart of A Samurai, Margi Preus
I read this today (Spring 2011), and was amazed at how few reviews there are for it!
Preus has created a wonderful trip through the adolescent adventures of a very real man, a Japanese fisherman by birth, who became in a sense a citizen of two disparate nations.
I'll share and move past my only disappointment quickly - the leader tag on the cover trumpets "a true adventure on the high seas." Well, seafaring is important to the story, and there are several different episodes on various voyages and vessels, but they are not weighted more heavily than the rest of the tale, which covers territory from California gold-panning to Imperial interrogation. I was hoping for more high-seas adventure, but the disappointment was mild.
I love the speed and crispness of the narration, skipping past whole months or years at a time, and then pausing for an afternoon of horse-racing or shell-collecting on the beach. I love the non-sentimental look at the differences between American and Japanese cultures of the time, and the downsides and blindsides of each. I love the way that important moral questions are raised, but not allowed to swamp the narrative.
This is a perfect intro to anyone interested in Japanese/American relations, or in Japan at the very ending of her long isolation, or in comparitive culture studies, or simply in the life of an interesting young boy at a tipping-point in history.
Beautiful illustrations (most created by the real-life Manjiro) abound inside the book itself, and a short biography and history lesson, as well as more information about his futher life appear at the ending, along with a note about extinctions and the practice of whaling and of harvesting albatross for their feathers.
The book is divided into very short sections, each beginning with a quote from the Book of the Samurai, and usually accompanied by an illustration as well. These sections are perfectly balanced, breaking up the sections of Manjiro's life into sensible and compact sections.
This one is going on my list for use in history and culture lessons, with very high expectations.
Preus has created a wonderful trip through the adolescent adventures of a very real man, a Japanese fisherman by birth, who became in a sense a citizen of two disparate nations.
I'll share and move past my only disappointment quickly - the leader tag on the cover trumpets "a true adventure on the high seas." Well, seafaring is important to the story, and there are several different episodes on various voyages and vessels, but they are not weighted more heavily than the rest of the tale, which covers territory from California gold-panning to Imperial interrogation. I was hoping for more high-seas adventure, but the disappointment was mild.
I love the speed and crispness of the narration, skipping past whole months or years at a time, and then pausing for an afternoon of horse-racing or shell-collecting on the beach. I love the non-sentimental look at the differences between American and Japanese cultures of the time, and the downsides and blindsides of each. I love the way that important moral questions are raised, but not allowed to swamp the narrative.
This is a perfect intro to anyone interested in Japanese/American relations, or in Japan at the very ending of her long isolation, or in comparitive culture studies, or simply in the life of an interesting young boy at a tipping-point in history.
Beautiful illustrations (most created by the real-life Manjiro) abound inside the book itself, and a short biography and history lesson, as well as more information about his futher life appear at the ending, along with a note about extinctions and the practice of whaling and of harvesting albatross for their feathers.
The book is divided into very short sections, each beginning with a quote from the Book of the Samurai, and usually accompanied by an illustration as well. These sections are perfectly balanced, breaking up the sections of Manjiro's life into sensible and compact sections.
This one is going on my list for use in history and culture lessons, with very high expectations.
Previously Published Review: A Pack of Lies, Geraldine McCaughrean
Found "A Pack of Lies" through serendipity just recently, and truly enjoyed it.
This is a perfect set of short tales for any over-imaginative or puzzle-solving child, young adult, or adult who doesn't mind reading "kid's stuff." I wouldn't recommend it for much younger than 8 in general, but some younger children will enjoy it also.
In the frame story, British teenage girl Ailsa is shaken free of her boring life by the strange appearance of a man during her field trip to the library. Without a name, an ID number, or a place to live, he might have just dropped from the sky.
He's strangely persuasive, and very well-read, and he's just the person to help Ailsa and her mother sell the strange knick-nacks and furniture in their Second-Hand Shop. He works for free, but he tells any customer who will listen the most amazing pack of lies about the items they are interested in. The stories he tells are fantastic, but not really fantasy. Perhaps they may even be true!
The real question is, what is MCC really trying to sell, and to whom?
The frame story is quite fun, with hints and clues scattered about, and the slow dawning of realization in at least one of the characters makes a sobering counterpoint to the overall lighthearted tone. The stories themselves (eleven inside the frame) are fairly solid.
In order, we get
1) An Irish Tall Tale
2) An Indian Morality Tale
3) A Chinese Love Story
4) A Bizarre "Manners" Poem (also a morality tale)
5) A High-Seas Adventure
6) A Welsh Character Study
7) A Regency Suspense/Horror Story
8) A Funny "Inept Investigator" Crime Procedural
9) A Papist Tragedy
10) A Tragic War-Story/Relationship Study
11) A Hysterical Transylvanian "Horror" Tale
Of them all, the weakest to me are the Poem (not bad, but not really as scathing or funny as it could have been, and really there's just not much there), and the Transylvanian Tale, which is sad, because it was quite funny. However, it was the most fanstasical of them all, and where in a true horror/suspense story, the fantastic elements are more accepted, here, in a comic sense, they were more glaring, and didn't quite seem to fit with the rest of the stories.
This is a perfect one for bedtime reading for kids old enough to be read to, but too old for 'storybooks.' Each story is just long enough (and interesting enough) for some good bedtime reading, and none are the sorts of stories that raise fears or deep thoughts.
This is a perfect set of short tales for any over-imaginative or puzzle-solving child, young adult, or adult who doesn't mind reading "kid's stuff." I wouldn't recommend it for much younger than 8 in general, but some younger children will enjoy it also.
In the frame story, British teenage girl Ailsa is shaken free of her boring life by the strange appearance of a man during her field trip to the library. Without a name, an ID number, or a place to live, he might have just dropped from the sky.
He's strangely persuasive, and very well-read, and he's just the person to help Ailsa and her mother sell the strange knick-nacks and furniture in their Second-Hand Shop. He works for free, but he tells any customer who will listen the most amazing pack of lies about the items they are interested in. The stories he tells are fantastic, but not really fantasy. Perhaps they may even be true!
The real question is, what is MCC really trying to sell, and to whom?
The frame story is quite fun, with hints and clues scattered about, and the slow dawning of realization in at least one of the characters makes a sobering counterpoint to the overall lighthearted tone. The stories themselves (eleven inside the frame) are fairly solid.
In order, we get
1) An Irish Tall Tale
2) An Indian Morality Tale
3) A Chinese Love Story
4) A Bizarre "Manners" Poem (also a morality tale)
5) A High-Seas Adventure
6) A Welsh Character Study
7) A Regency Suspense/Horror Story
8) A Funny "Inept Investigator" Crime Procedural
9) A Papist Tragedy
10) A Tragic War-Story/Relationship Study
11) A Hysterical Transylvanian "Horror" Tale
Of them all, the weakest to me are the Poem (not bad, but not really as scathing or funny as it could have been, and really there's just not much there), and the Transylvanian Tale, which is sad, because it was quite funny. However, it was the most fanstasical of them all, and where in a true horror/suspense story, the fantastic elements are more accepted, here, in a comic sense, they were more glaring, and didn't quite seem to fit with the rest of the stories.
This is a perfect one for bedtime reading for kids old enough to be read to, but too old for 'storybooks.' Each story is just long enough (and interesting enough) for some good bedtime reading, and none are the sorts of stories that raise fears or deep thoughts.
Previously Published Review: Time at the Top and All in Good Time, Edward Ormondroyd
My main objection to this set of books is that if they were written today, they would appear as one single title (of about 350ish pages, which isn't much, considering the doorstoppers which have appeared recently in juvenile fiction). I think that the story flow would be greatly improved by this, and for my review, I'm going to treat the two of them as one story, because each of them is so greatly diminished by the lack of the other as to not be worth recommending.
Time at the Top tells of Susan's horrible March day, where, despite her foul mood, she takes the time to assist a strange absent-minded eccentric old woman (a witch of course) and is given "Three." Three of what? Trips through time, obviously! And on a rickety old elevator (which, by the end of the second book, is practically a character in it's own right).
Susan doesn't quite realize her adventure, and is only slowly coaxed into meeting and then assisting a charming family in 1881, living in a beautiful house in the same place where Susan's apartment building stands in the present.
Susan and her new friends array themselves against an oily prospecting suitor, and engage in a plan to save the family from a sad fate. In the end of Time at the Top, Susan has convinced her father to try a single trip in the elevator, and the author (inserted more dextrously in the first than in the sequel) makes a startling discovery which brings the story to a close, presumably happily.
With so many loose ends dangling around, All In Good Time picks up a lot more slowly than I would have expected, with much more of the author self-inserted, and the book fares poorly at first because of it.
Back in 1881, the parents aren't cooperating with their children's brilliant plan for them to instantly fall in love, and what's worse, the solutions the children made in the first story get bungled up and begin to fail. Everything seems on the brink of falling apart, until the eccentric old lady steps in once again to twist up time and persuade our set of heroes that they can save the day after all.
All ends well; an amusing (and deserved) fate for the villians, a gratifying finish for the heroes, and the author is easily forgiven for his enthusiastic barging into the story - after all, it isn't often that one gets to assist a time-meddling witch!
Time at the Top tells of Susan's horrible March day, where, despite her foul mood, she takes the time to assist a strange absent-minded eccentric old woman (a witch of course) and is given "Three." Three of what? Trips through time, obviously! And on a rickety old elevator (which, by the end of the second book, is practically a character in it's own right).
Susan doesn't quite realize her adventure, and is only slowly coaxed into meeting and then assisting a charming family in 1881, living in a beautiful house in the same place where Susan's apartment building stands in the present.
Susan and her new friends array themselves against an oily prospecting suitor, and engage in a plan to save the family from a sad fate. In the end of Time at the Top, Susan has convinced her father to try a single trip in the elevator, and the author (inserted more dextrously in the first than in the sequel) makes a startling discovery which brings the story to a close, presumably happily.
With so many loose ends dangling around, All In Good Time picks up a lot more slowly than I would have expected, with much more of the author self-inserted, and the book fares poorly at first because of it.
Back in 1881, the parents aren't cooperating with their children's brilliant plan for them to instantly fall in love, and what's worse, the solutions the children made in the first story get bungled up and begin to fail. Everything seems on the brink of falling apart, until the eccentric old lady steps in once again to twist up time and persuade our set of heroes that they can save the day after all.
All ends well; an amusing (and deserved) fate for the villians, a gratifying finish for the heroes, and the author is easily forgiven for his enthusiastic barging into the story - after all, it isn't often that one gets to assist a time-meddling witch!
Previously Published Review: A Brother's Price, Wen Spencer
Is this great literature? Oh no. Not in the slightest. Just read the cover blurb and you should know better!
Is this great Sci-Fi? Nooooo, not really. In fact, other than the gender imbalance, I'm hard-pressed to find any science-fictional elements here at all. I'm highly tempted to label this one "Speculative Alternate History Romance."
So, that established, how was it?
Well, as the only example of Speculative Alternate History Romance (hereafter: SAHR) I have encountered, I found it quite enjoyable.
Quick downsides:
The characters are drawn in very broad strokes, little detail, and much stereotyping. Secondary characters are likewise, but worse. No real character-building here, other than the main cast. Future SAHRs take note: even minor characters can be multi-faceted.
The main conceit is ignored as to cause and possible fixes. The world itself is drawn in sketchy fashion: the homestead, the city, the slums, the river... No real details of place and time anchor the story.
That combined with the the odd colloquialisms (Stetsons? Six-shooters? chaps?) do add to the western feel, but they also make the world seem a little unbalanced. How did the American West get turned into a hereditary monarchy of sister-queens? Where on earth (or not) are we? If they had been missing, and the western feel put in through character or other more subtle touches, that off-balance feeling might not have been niggling at my brain while I read. Again, potential SAHR writers, take care to establish the changes and underlying intelligence about why your world is so different.
The gender switch is amusing, but some of the particulars are a little overblown, and a little stereotyped. I know that's hard to reconcile, because she is purposefully playing directly against type for both men and women, but I felt that this story had the women come off as managing their new roles a lot better than the men do, and that's unfortunate. As I imagine them, SAHRs shouldn't have to be a man-bashing genre.
Quick positives:
The dialogue is written fairly well, and the interactions between characters are mostly believable (the initial 'romance' scenes are a little heavy-handed). I liked what little we saw of the world, and the plot kept to a very quick pace, so I never had time to think about what wasn't there. The main clan and their introduction to the city was a finely written section, and the few males in the story had distinctive characters (even the one who wasn't really IN the story.)
Overall, an amusingly light read. Jerin is a sweetheart, and I enjoyed the quick visit to his odd world. Maybe I'll write a SAHR myself!
Is this great Sci-Fi? Nooooo, not really. In fact, other than the gender imbalance, I'm hard-pressed to find any science-fictional elements here at all. I'm highly tempted to label this one "Speculative Alternate History Romance."
So, that established, how was it?
Well, as the only example of Speculative Alternate History Romance (hereafter: SAHR) I have encountered, I found it quite enjoyable.
Quick downsides:
The characters are drawn in very broad strokes, little detail, and much stereotyping. Secondary characters are likewise, but worse. No real character-building here, other than the main cast. Future SAHRs take note: even minor characters can be multi-faceted.
The main conceit is ignored as to cause and possible fixes. The world itself is drawn in sketchy fashion: the homestead, the city, the slums, the river... No real details of place and time anchor the story.
That combined with the the odd colloquialisms (Stetsons? Six-shooters? chaps?) do add to the western feel, but they also make the world seem a little unbalanced. How did the American West get turned into a hereditary monarchy of sister-queens? Where on earth (or not) are we? If they had been missing, and the western feel put in through character or other more subtle touches, that off-balance feeling might not have been niggling at my brain while I read. Again, potential SAHR writers, take care to establish the changes and underlying intelligence about why your world is so different.
The gender switch is amusing, but some of the particulars are a little overblown, and a little stereotyped. I know that's hard to reconcile, because she is purposefully playing directly against type for both men and women, but I felt that this story had the women come off as managing their new roles a lot better than the men do, and that's unfortunate. As I imagine them, SAHRs shouldn't have to be a man-bashing genre.
Quick positives:
The dialogue is written fairly well, and the interactions between characters are mostly believable (the initial 'romance' scenes are a little heavy-handed). I liked what little we saw of the world, and the plot kept to a very quick pace, so I never had time to think about what wasn't there. The main clan and their introduction to the city was a finely written section, and the few males in the story had distinctive characters (even the one who wasn't really IN the story.)
Overall, an amusingly light read. Jerin is a sweetheart, and I enjoyed the quick visit to his odd world. Maybe I'll write a SAHR myself!
Previously Published Review: One White Wishing Stone, Doris, K. Gayzagian
Most counting books are fairly mundane - you count to ten. Sometimes people get freaky and you count DOWN to one, or you count by multiples, or you get the overachiever counting-book authors who go up to ten (or sometimes higher) and then all the way back down. Regardless, while a good educational lesson, they're not precisely emotionally stimulating.
This book jumps way past simple counting text (which, incidentally, itself winds down at about the half-way mark to make way for more lively situational rhymes) by virtue of the beautiful, hauntingly simplistic impressionistic page-spreads. The little girl is simply and classically drawn, and her environment is correct without being overly detailed. (Check the "skate egg cases" page for a perfect example, although we always called them 'devil's purses.')
The day of simple isolated enjoyment of nature and imagination (there's no one else around but mom and little girl) finishes off sweetly with a focus on sleepy memories and fond recollection of good times, both excellent lessons for young children (and sometimes their parents) about a time-tested way to find simple pleasures in life where you can find them.
As a former beach resident (I miss it so!) this story is a treasure, reminding me of many good times in the past, and hopefully in my future as well!
This book jumps way past simple counting text (which, incidentally, itself winds down at about the half-way mark to make way for more lively situational rhymes) by virtue of the beautiful, hauntingly simplistic impressionistic page-spreads. The little girl is simply and classically drawn, and her environment is correct without being overly detailed. (Check the "skate egg cases" page for a perfect example, although we always called them 'devil's purses.')
The day of simple isolated enjoyment of nature and imagination (there's no one else around but mom and little girl) finishes off sweetly with a focus on sleepy memories and fond recollection of good times, both excellent lessons for young children (and sometimes their parents) about a time-tested way to find simple pleasures in life where you can find them.
As a former beach resident (I miss it so!) this story is a treasure, reminding me of many good times in the past, and hopefully in my future as well!
Previously Published Review: Delusions of Gender, Cordelia Fine
Comprehensive Literature Review Refutes Sensationalism!
Details at 11!
Oh, wait. They won't be, because providing citations and scientific stucdies which seem to indicate something as boring (and frankly, a little embarrassing) as socially-induced neurological and behavioral differences between the sexes isn't nearly exciting enough to broadcast on the newsmedia.
We'd rather use our shiny new technological advances to prove that really, we're all doing all that we can, and honestly, the fact that women have advanced as far as they have shows how GOOD we are at counteracting their natural tendencies to be weak-willed passive little vacuum-pushers who live to cook nice roasts for their alpha-male husbands to devour on their way to the den to watch the big game.
Yeesh. On the one hand, I'm really glad I read this, because it's nice to know that my niggling suspicion about "too neatly drawn" biological differences was correct, but at the same time, I'm a lot more depressed about the advances of culture and society to actually regard people as equal, regardless of the particular format of their genitals.
Some really depressing standouts:
Even if parents verbally espouse egalitarianism and racial/gender equality, their unconscious selves more easily pair sets of words such as woman/house instead of woman/job, or man/power instead of man/infant. Even worse, small children base THEIR understanding of the world (and their behavior patterns) on those unconscious preferences of the adults around them, not their consciously held beliefs. Therefore, you get Jennifer stating that her four year old son Aiden can play with dolls if he wants to, but when you ask Aiden himself, he states that his mommy would NOT want him to play with dolls. *sigh*
Women and men with identical resumes get treated quite differently when hiring, promotions, and raises are considered. Men are lauded if they are agressive and "go-getters" while an identical applicant with a female name is considered a bossy "ball-buster" or an "ice-queen" and their recompense for their work (both financially and in the sense of support and friendliness with co-workers) suffers dramatically in contrast to men. And don't even get started on the poor women with kids. If you add a fictional reference to a child on her resume, she gets it even worse than a childless identical female.
But really, it's all because of those brain differences, right? Right?
The lack of a star is simply because I thought that the time she spent establishing how much mental "hardwiring" is changed by life itself was a little lacking. As the major thrust of her argument against far-reaching inherent neurological differences (please note the use of the word far-reaching) it falls on her to establish (with as much authority as can be mustered) the amount and extent to which infant, child, teen, and ADULT brains can have their "hardwiring" altered based on experiences and patterns of behavior.
Overall a very enjoyable and necessary book. To really appreciate some of the pointed sarcasm, you may also enjoy thumbing through some of the titles she gleefully eviscerates on her jaunt through the scientific literature.
Details at 11!
Oh, wait. They won't be, because providing citations and scientific stucdies which seem to indicate something as boring (and frankly, a little embarrassing) as socially-induced neurological and behavioral differences between the sexes isn't nearly exciting enough to broadcast on the newsmedia.
We'd rather use our shiny new technological advances to prove that really, we're all doing all that we can, and honestly, the fact that women have advanced as far as they have shows how GOOD we are at counteracting their natural tendencies to be weak-willed passive little vacuum-pushers who live to cook nice roasts for their alpha-male husbands to devour on their way to the den to watch the big game.
Yeesh. On the one hand, I'm really glad I read this, because it's nice to know that my niggling suspicion about "too neatly drawn" biological differences was correct, but at the same time, I'm a lot more depressed about the advances of culture and society to actually regard people as equal, regardless of the particular format of their genitals.
Some really depressing standouts:
Even if parents verbally espouse egalitarianism and racial/gender equality, their unconscious selves more easily pair sets of words such as woman/house instead of woman/job, or man/power instead of man/infant. Even worse, small children base THEIR understanding of the world (and their behavior patterns) on those unconscious preferences of the adults around them, not their consciously held beliefs. Therefore, you get Jennifer stating that her four year old son Aiden can play with dolls if he wants to, but when you ask Aiden himself, he states that his mommy would NOT want him to play with dolls. *sigh*
Women and men with identical resumes get treated quite differently when hiring, promotions, and raises are considered. Men are lauded if they are agressive and "go-getters" while an identical applicant with a female name is considered a bossy "ball-buster" or an "ice-queen" and their recompense for their work (both financially and in the sense of support and friendliness with co-workers) suffers dramatically in contrast to men. And don't even get started on the poor women with kids. If you add a fictional reference to a child on her resume, she gets it even worse than a childless identical female.
But really, it's all because of those brain differences, right? Right?
The lack of a star is simply because I thought that the time she spent establishing how much mental "hardwiring" is changed by life itself was a little lacking. As the major thrust of her argument against far-reaching inherent neurological differences (please note the use of the word far-reaching) it falls on her to establish (with as much authority as can be mustered) the amount and extent to which infant, child, teen, and ADULT brains can have their "hardwiring" altered based on experiences and patterns of behavior.
Overall a very enjoyable and necessary book. To really appreciate some of the pointed sarcasm, you may also enjoy thumbing through some of the titles she gleefully eviscerates on her jaunt through the scientific literature.
Previously Published Review: Unnatural Issue, Mercedes Lackey
Sir Richard Whitestone was an Earth Master, as his family before him, tuned to the elements of hearth, home, and healing. He was called to London to capture and kill a dreaded Necromancer, practicer of forbidden blood and spirit-binding magics. Just part of his duty as a "good" magician and Master to help protect the innocent. While away in London, his beloved wife dies in childbed, and as he sees her lying dead hours later, he blames it on Susanne, their newborn daughter.
He forgets his grief by isolating himself on his magic-filled second-floor, poring over tomes of dusty magic practice, while Susanne is raised by the servants in the equally-isolated Yorkshire moors.
After 20 years, grief and desperate desire have driven Sir Richard to become what he once hated, and with his need for a perfect "vessel" for his wife's spirit, he chances to see Susanne out on the moors, and realizes that she is the perfect image of his wife. Now his hatred and bitterness has an outlet. Now all he must do is catch her.
Now, I won't go any further to avoid spoilers, but here's some highlights.
Susanne is feisty, spunky, and a better magician than her father, with an interesting magical sponsor.
Sir Richard is suitably mad, and totally misogynistic. I think the progression of his obsession with Susanne came up a little quickly, but otherwise, he's an excellent villain.
Lords Peter and Charles are interesting, and the sections with Peter and his man Garrick (especially the "impersonating a mad artist" bits) out investigating in Yorkshire are quite fun. I love the way Charles' manor and holdings and people are described.
The tale gets very dark around the midpoint, with the intro of WWI into the characters' lives. Everyone is threatened both by war, and by the mad, unimaginable power that Sir Richard now posesses.
Some slight flaws:
At the very beginning, Sir Richard gets magical 'poisoning' from being in London for only a week or so, due to the death and pollution and etc, but later on, Susanne is living in London for months with no ill effects. Likewise on the battlefields of France, with death and poison and shattered magical earth-bonds, there's no mention of this causing trouble. Perhaps a niggling point, but it bugged me enough to take me out of the story at several different places.
In another type of niggle, Susanne herself, other than having a mad father, isn't ever really challenged or directly threatened magically. She deals with any number of difficulties, but these aren't ever exactly threats. That, coupled with the insistence on her magical prowess (which we never really see either) made everything seem slightly unreal, and a litle less dramatic - I wasn't ever worried for her.
Last niggle, the "love triangle" was totally unnecessary, and really wasn't handled as well as it could have been. Either make it more realistic, or leave it out entirely, I don't care which. Please don't throw silly love stories into something which otherwise tries hard to be a gritty portrayal of people dealing with the horrors of the undead and of WWI in the trenches. The contrasts do neither storyline any good at all.
Niggles totally aside, a very fun read, and totally worth the 2 hours of sleep that it cost me to finish last night.
He forgets his grief by isolating himself on his magic-filled second-floor, poring over tomes of dusty magic practice, while Susanne is raised by the servants in the equally-isolated Yorkshire moors.
After 20 years, grief and desperate desire have driven Sir Richard to become what he once hated, and with his need for a perfect "vessel" for his wife's spirit, he chances to see Susanne out on the moors, and realizes that she is the perfect image of his wife. Now his hatred and bitterness has an outlet. Now all he must do is catch her.
Now, I won't go any further to avoid spoilers, but here's some highlights.
Susanne is feisty, spunky, and a better magician than her father, with an interesting magical sponsor.
Sir Richard is suitably mad, and totally misogynistic. I think the progression of his obsession with Susanne came up a little quickly, but otherwise, he's an excellent villain.
Lords Peter and Charles are interesting, and the sections with Peter and his man Garrick (especially the "impersonating a mad artist" bits) out investigating in Yorkshire are quite fun. I love the way Charles' manor and holdings and people are described.
The tale gets very dark around the midpoint, with the intro of WWI into the characters' lives. Everyone is threatened both by war, and by the mad, unimaginable power that Sir Richard now posesses.
Some slight flaws:
At the very beginning, Sir Richard gets magical 'poisoning' from being in London for only a week or so, due to the death and pollution and etc, but later on, Susanne is living in London for months with no ill effects. Likewise on the battlefields of France, with death and poison and shattered magical earth-bonds, there's no mention of this causing trouble. Perhaps a niggling point, but it bugged me enough to take me out of the story at several different places.
In another type of niggle, Susanne herself, other than having a mad father, isn't ever really challenged or directly threatened magically. She deals with any number of difficulties, but these aren't ever exactly threats. That, coupled with the insistence on her magical prowess (which we never really see either) made everything seem slightly unreal, and a litle less dramatic - I wasn't ever worried for her.
Last niggle, the "love triangle" was totally unnecessary, and really wasn't handled as well as it could have been. Either make it more realistic, or leave it out entirely, I don't care which. Please don't throw silly love stories into something which otherwise tries hard to be a gritty portrayal of people dealing with the horrors of the undead and of WWI in the trenches. The contrasts do neither storyline any good at all.
Niggles totally aside, a very fun read, and totally worth the 2 hours of sleep that it cost me to finish last night.
Previously Published Review: StarCrossed, Elizabeth C. Bunce
Negatives first, then positives.
Target Reading Age: I kept having to check back on the spine to see that this book actually WAS classified as young adult. It reads much more to the middle-school range. Romances are vanishingly small, and hints about "adult" activities are vague. The heroine is 16, the 'semi-heroine' Merista is 13, and your 14th birthday marks the passage to adulthood - for girls only. While an interesting premise, it's one which seems pretty calculated to draw favor from the younger set, rather than their mature elders in high school.
A Little Extra Help Here: I normally don't think too much about extra-textual additions, but a story like this, with a new world, a convoluted magical (and lunar) system tied up into political intrigue, in addition to several far-spaced locations visited in the story itself, with more bandied about as important from the past? Really needs some liner notes. If I were publishing this, I would ask for the following:
A regional map.
An orbital map of the moons (with names).
A geneology/hierarchy of the gods/goddesses (strangely, I learned their associations pretty well from the text, but their relations and their "assigned astronomical body" remain largely mysteries).
A geneology of the current ruling family.
As a reader, I would have appreciated a pronunciation guide also - nothing here is particularly difficult to "invent" pronunciations, but I am always curious as to what the author intended or thought.
Next Time in StarCrossed: There was an extremely strong episodic feel for this story, to the point where I wondered if the chapters and sections had originally been written intentionally for different audiences. Each section has a different focus, feel, and pacing structure, and for someone who reads quickly (this one went down in about 6 hours one afternoon) those glaring shifts were quite strange. The problem here is that for someone who likes action, only the first and last episodes are going to thrill, while for someone who likes period drama (fancy dress balls and dinners) they may never get past the guttersnipe first portion to realize that the center of the book would be their cup of tea. Quite odd.
Contrivances Galore: Digger's family, "nobs" adopting a stray merchant child (in a very stratified society), the finding of the fugitive in the basement, the easy outwitting of the Inquisitors (who, presumably, after more than 14 years, have figured out how to do their jobs a wee bit better than that), and the sudden upswing in purple flaunting around (who, in this society, is brave enough to make and market purple cloth?) each, alone, isn't too much to handle. Taken all together, they act as a bit of an anchor to the buoyant narrative, holding it back from what could be truly excellent storytelling.
Casting Call for Boys: Men, we have in plenty. However, after the first section, there are exactly two boys, one of which is attached already. Far be it from me to suggest that the women aren't capable of holding down the fort (because I'm pretty sure they are) but even if they're not the main character, just HAVING some around makes reading more fun. Especially cruel is the introduction of the two noble boys at the beginning.
Now that I've smashed it all to bits, here's the good stuff! (Which did, incidentally, outweigh the negatives for me.)
Love a good story set in a differently-organized world. The multiple moons, the use of 'lunarists' instead of astrologists, the different personalities and purpose of each deity - lovely. The magic system doesn't seem as inventive to me as to some other reviewers, but it is well-established and appears to be a perfectly workable system.
Characterization was delightful. Digger/Celyn creates an almost Smeagol/Gollum personality split. Between wanting to be liked and to like and trust the people she's with, and her nearly pathological need to steal and sneak around, she is always interesting. A great viewpoint character. The noble/mercantile ladies and gentlemen are all individualized and personable, the courtesan is a tragic figure, and the two other "young" ladies start off interesting and show growth of character through the narrative. Even the villains have larger-than-life personalities.
While I griped about the abrupt changes in tone and focus above, I do have to say that (perhaps with a lighter touch) I did enjoy the different "stories" in all their vastly different ways. The novel ended up being almost like a collection of shorts, each a different genre - the street-rat, the comedy of manners, the spy story, the political intrigue, the ghost-story, the best-friend mystery - and what was most interesting: all of them were written well!
Language and spelling were tip-top (thank your editor today) with no distractions from the story. The mannerisms were decently fitted to the social-political scheme (with exceptions noted above) and the time-period itself was used to good effect to fit thematic and plot advancements into the narrative.
Overall, quite fun. Very much looking forward to the next installment.
Target Reading Age: I kept having to check back on the spine to see that this book actually WAS classified as young adult. It reads much more to the middle-school range. Romances are vanishingly small, and hints about "adult" activities are vague. The heroine is 16, the 'semi-heroine' Merista is 13, and your 14th birthday marks the passage to adulthood - for girls only. While an interesting premise, it's one which seems pretty calculated to draw favor from the younger set, rather than their mature elders in high school.
A Little Extra Help Here: I normally don't think too much about extra-textual additions, but a story like this, with a new world, a convoluted magical (and lunar) system tied up into political intrigue, in addition to several far-spaced locations visited in the story itself, with more bandied about as important from the past? Really needs some liner notes. If I were publishing this, I would ask for the following:
A regional map.
An orbital map of the moons (with names).
A geneology/hierarchy of the gods/goddesses (strangely, I learned their associations pretty well from the text, but their relations and their "assigned astronomical body" remain largely mysteries).
A geneology of the current ruling family.
As a reader, I would have appreciated a pronunciation guide also - nothing here is particularly difficult to "invent" pronunciations, but I am always curious as to what the author intended or thought.
Next Time in StarCrossed: There was an extremely strong episodic feel for this story, to the point where I wondered if the chapters and sections had originally been written intentionally for different audiences. Each section has a different focus, feel, and pacing structure, and for someone who reads quickly (this one went down in about 6 hours one afternoon) those glaring shifts were quite strange. The problem here is that for someone who likes action, only the first and last episodes are going to thrill, while for someone who likes period drama (fancy dress balls and dinners) they may never get past the guttersnipe first portion to realize that the center of the book would be their cup of tea. Quite odd.
Contrivances Galore: Digger's family, "nobs" adopting a stray merchant child (in a very stratified society), the finding of the fugitive in the basement, the easy outwitting of the Inquisitors (who, presumably, after more than 14 years, have figured out how to do their jobs a wee bit better than that), and the sudden upswing in purple flaunting around (who, in this society, is brave enough to make and market purple cloth?) each, alone, isn't too much to handle. Taken all together, they act as a bit of an anchor to the buoyant narrative, holding it back from what could be truly excellent storytelling.
Casting Call for Boys: Men, we have in plenty. However, after the first section, there are exactly two boys, one of which is attached already. Far be it from me to suggest that the women aren't capable of holding down the fort (because I'm pretty sure they are) but even if they're not the main character, just HAVING some around makes reading more fun. Especially cruel is the introduction of the two noble boys at the beginning.
Now that I've smashed it all to bits, here's the good stuff! (Which did, incidentally, outweigh the negatives for me.)
Love a good story set in a differently-organized world. The multiple moons, the use of 'lunarists' instead of astrologists, the different personalities and purpose of each deity - lovely. The magic system doesn't seem as inventive to me as to some other reviewers, but it is well-established and appears to be a perfectly workable system.
Characterization was delightful. Digger/Celyn creates an almost Smeagol/Gollum personality split. Between wanting to be liked and to like and trust the people she's with, and her nearly pathological need to steal and sneak around, she is always interesting. A great viewpoint character. The noble/mercantile ladies and gentlemen are all individualized and personable, the courtesan is a tragic figure, and the two other "young" ladies start off interesting and show growth of character through the narrative. Even the villains have larger-than-life personalities.
While I griped about the abrupt changes in tone and focus above, I do have to say that (perhaps with a lighter touch) I did enjoy the different "stories" in all their vastly different ways. The novel ended up being almost like a collection of shorts, each a different genre - the street-rat, the comedy of manners, the spy story, the political intrigue, the ghost-story, the best-friend mystery - and what was most interesting: all of them were written well!
Language and spelling were tip-top (thank your editor today) with no distractions from the story. The mannerisms were decently fitted to the social-political scheme (with exceptions noted above) and the time-period itself was used to good effect to fit thematic and plot advancements into the narrative.
Overall, quite fun. Very much looking forward to the next installment.
Previously Published Review: I Want My Hat Back, J. Klassen
I LOVE this book.
Got it today for our library collection, and I'm using it for storytime as soon as possible.
Just amazing.
Words cannot express just how much I was tickled by this book, but E. R. Bird (another reviewer) comes pretty close.
Short version: Bear has lost his hat. He asks the omnipresent woodland creatures if they have seen it. One of them, a bunny (the only one wearing a hat) delivers EXACTLY the kind of answer that a totally guilty 5-10 year old would give. The bear does not notice this dead giveaway, and continues on through his search, until a chance comment makes him remember that bunny's hat. Later on, another creature comes by, seeking the bunny. Guess what type of answer our bear gives?
In the grand tradition of (real) fairy tales and Aesop's fables, the lying sneak gets what's coming to him (offscreen, but with a bit of collateral damage to the surroundings) and the bear is contentedly reunited with his hat.
If you are a super-protective parent, or lacking a subversive sense of the amusing, or of the type who underestimates the bloodthirstiness of children seeking justice, you may want to give this a pass. Otherwise, it is spot on, and just a perfect story.
Got it today for our library collection, and I'm using it for storytime as soon as possible.
Just amazing.
Words cannot express just how much I was tickled by this book, but E. R. Bird (another reviewer) comes pretty close.
Short version: Bear has lost his hat. He asks the omnipresent woodland creatures if they have seen it. One of them, a bunny (the only one wearing a hat) delivers EXACTLY the kind of answer that a totally guilty 5-10 year old would give. The bear does not notice this dead giveaway, and continues on through his search, until a chance comment makes him remember that bunny's hat. Later on, another creature comes by, seeking the bunny. Guess what type of answer our bear gives?
In the grand tradition of (real) fairy tales and Aesop's fables, the lying sneak gets what's coming to him (offscreen, but with a bit of collateral damage to the surroundings) and the bear is contentedly reunited with his hat.
If you are a super-protective parent, or lacking a subversive sense of the amusing, or of the type who underestimates the bloodthirstiness of children seeking justice, you may want to give this a pass. Otherwise, it is spot on, and just a perfect story.
Previously Published Review: Would It Kill You To Stop Doing That, Henry Alford
First off, the main downside to this book: Not enough time spent with my own two preferred manners mavens, Tim Gunn and Miss Manners. I found the sections spent interviewing them to be quite fun, but sadly short - similar to attending a dinner advertising a "sumptuous mousse dessert" and then you get your serving: a tiny teaspoon. Tastes good, but you were expecting a good bit more of it.
As to the book itself - short, sharp-tongued, and occasionally scathing. There is some language towards the end (he is a NYC greeter, and likes to shock his overseas visitors by taking them by the booth selling "effing" shirts.) There is also a bit of a better than thou tone throughout, but strangely enough, it humanizes rather than irritates. The section on his "retaliatory manners" especially hit me square in my own often passive-aggressive tendencies, and made like him all the more because of our shared failings.
Overall, nothing earth-shattering, and most certainly not exhaustive or even complete, but a very enjoyable short and sassy addition to the voices of those calling out for a continuation and furtherance of modern manners.
As to the book itself - short, sharp-tongued, and occasionally scathing. There is some language towards the end (he is a NYC greeter, and likes to shock his overseas visitors by taking them by the booth selling "effing" shirts.) There is also a bit of a better than thou tone throughout, but strangely enough, it humanizes rather than irritates. The section on his "retaliatory manners" especially hit me square in my own often passive-aggressive tendencies, and made like him all the more because of our shared failings.
Overall, nothing earth-shattering, and most certainly not exhaustive or even complete, but a very enjoyable short and sassy addition to the voices of those calling out for a continuation and furtherance of modern manners.
Previously Published Review: Splendini, by Scott Pinzon
The short blurb for this book is about as unhelpful as it is possible to be in confirming what's actually happening inside the pages. Here is a longer and more detailed version. If you don't like spoilers, then better stop reading now!
The Great Splendini! is better known as pre-teen Dave Scott, with a newfound secret - he's recently converted to Christianity. He's also got a not-so-secret - his dad works for Compudat, a major computing and hardware company rumored to be producing super secret technical wonders for the government. Dave's worried that his new faith will alienate him from his best friend, the goofy and smart-alek AJ, fond of wearing t-shirts bearing slogans like "Be Alert - the world needs more lerts" and "Pobody's Nerfect."
Dave, AJ, and moody newcomer Sylvia (with dark secrets and problems of her own) all attend a summer tour of the Compudat building, courtesy of Dave's dad. The tour is cut short by espionage. Shortly thereafter, things go from bad to worse as first AJ, then Sylvia, then Dave are all kidnapped and held until Dave's dad delivers the secret plans that the criminals failed to steal during their botched theft during the kids' tour.
The most memorable section of this short novel is the captivity and escape attempt itself. The teens are held in an abandonned carnival on an island. The carnival is described in gleeful detail - all of the derelict and rusted rides, the shorted lights, all building the creepy anticipation of an ensuing chase through mirror-mazes or rusted roller-coaster struts. They use their different strengths - stage magic, physical strength, and super-smarts respectively, to formulate an escape plan and foil their kidnappers.
Reading it again now, it's quite heavy on the Christian influences (published by Zondervan, this should not be a surprise) and faith plays a large part in encouraging the teens and others to reach for great things. Parents are loving and other adults (other than the baddies) are supportive and helpful, which is an interesting change from most other YA.
Still, the spotlight is on Dave/Splendini himself as he conquers his anxiety and learns to trust himself, his friends, and God.
I read this as a child, and greatly enjoyed the way that the teens used logic and reason to formulate their escape, and trusted each other to all play necessary parts in the attempt. I was thrilled to find this book again, and enjoyed the trip down memory lane. Perhaps not an exceptional book, but memorable to at least one young person who read it a long long time ago.
The Great Splendini! is better known as pre-teen Dave Scott, with a newfound secret - he's recently converted to Christianity. He's also got a not-so-secret - his dad works for Compudat, a major computing and hardware company rumored to be producing super secret technical wonders for the government. Dave's worried that his new faith will alienate him from his best friend, the goofy and smart-alek AJ, fond of wearing t-shirts bearing slogans like "Be Alert - the world needs more lerts" and "Pobody's Nerfect."
Dave, AJ, and moody newcomer Sylvia (with dark secrets and problems of her own) all attend a summer tour of the Compudat building, courtesy of Dave's dad. The tour is cut short by espionage. Shortly thereafter, things go from bad to worse as first AJ, then Sylvia, then Dave are all kidnapped and held until Dave's dad delivers the secret plans that the criminals failed to steal during their botched theft during the kids' tour.
The most memorable section of this short novel is the captivity and escape attempt itself. The teens are held in an abandonned carnival on an island. The carnival is described in gleeful detail - all of the derelict and rusted rides, the shorted lights, all building the creepy anticipation of an ensuing chase through mirror-mazes or rusted roller-coaster struts. They use their different strengths - stage magic, physical strength, and super-smarts respectively, to formulate an escape plan and foil their kidnappers.
Reading it again now, it's quite heavy on the Christian influences (published by Zondervan, this should not be a surprise) and faith plays a large part in encouraging the teens and others to reach for great things. Parents are loving and other adults (other than the baddies) are supportive and helpful, which is an interesting change from most other YA.
Still, the spotlight is on Dave/Splendini himself as he conquers his anxiety and learns to trust himself, his friends, and God.
I read this as a child, and greatly enjoyed the way that the teens used logic and reason to formulate their escape, and trusted each other to all play necessary parts in the attempt. I was thrilled to find this book again, and enjoyed the trip down memory lane. Perhaps not an exceptional book, but memorable to at least one young person who read it a long long time ago.
All Men of Genius, Lev AC Rosen
I LOVED this book! Rosen smushes together Twelfth Night and The Importance of Being Earnest, throws in a dash of Frankenstein, a smidge of Conan Doyle, a side of English boarding-school, and a heaping tablespoon of steampunk. And it worked! It worked! *cue lightning and mad laughter*
Violet and Ashton are twins but never really cared about it that much, until Violet realizes that she simply HAS to attend the best mad-scientist school in the world, the prestigous, highly selective, and male-only Illyria College. No worries. With the help of effete Ashton (an acknowledged and mostly un-remarked "invert" known now as the much less loaded 'gay') she learns to dress and act as a man, submits her application, and promptly has her headmaster falling head over heels in love with her (to the disconcertion of said headmaster, who is decidedly NOT gay, and doesn't understand why he's attracted so to "Ashton.")
If you're familiar with the two main source texts, you know how things will go, but the journey isn't really the point here. Characters are delightful (especially the professors and their mini backstories), mad science romps through every page (I had to stop reading to laugh about the poor exclamative bunny, Oscar) and the story winds to an eventful conclusion that leaves just enough strings lying about to form a sequel, but not to feel as if it needs one.
All in all, absolutely delightful.
Violet and Ashton are twins but never really cared about it that much, until Violet realizes that she simply HAS to attend the best mad-scientist school in the world, the prestigous, highly selective, and male-only Illyria College. No worries. With the help of effete Ashton (an acknowledged and mostly un-remarked "invert" known now as the much less loaded 'gay') she learns to dress and act as a man, submits her application, and promptly has her headmaster falling head over heels in love with her (to the disconcertion of said headmaster, who is decidedly NOT gay, and doesn't understand why he's attracted so to "Ashton.")
If you're familiar with the two main source texts, you know how things will go, but the journey isn't really the point here. Characters are delightful (especially the professors and their mini backstories), mad science romps through every page (I had to stop reading to laugh about the poor exclamative bunny, Oscar) and the story winds to an eventful conclusion that leaves just enough strings lying about to form a sequel, but not to feel as if it needs one.
All in all, absolutely delightful.
Quiet, Susan Cain
The subtitle of this book is a pretty decent precis of the entire thing: "The Power of Introverts in a World That Can't Stop Talking."
I was very happy about the time and effort spent finding and citing all of the research challenging current extrovert and group-mind tendencies in American corporate and intelligence cultures: brainstorming doesn't work, the loudest (or most persuasive) talker isn't the smartest person in the room, people don't actually work better in "teams" or in "open plan" desk arrangements.
In addition, I appreciated the time spent examining the overlap between introverts and "highly sensitive" people (about 70% of introverts are also more sensitive to their surroundings, and I don't mean in a woo sense of auras or an emotional sense of bursting into tears). Falling neatly into both categories, I found the extra information quite helpful.
Lastly, I was swept away by all of the studies and research work which is being completely ignored by the mainstream in their quest to keep from insulting anyone, or to forgo pointing out differences between people. I truly wish that we had a way to cover differences without immediately assigning worth to those differences. Our solution now, 'pretend there aren't any until we have to confront it, and then flip out' isn't working so well.
I read this in segments, and it seemed repetitive in form even then - I would not recommend trying to get through in one big push - it seems to work better in smaller quantities spaced out over some time.
Very good, very approachable, written in friendly conversational interview style, and full of research and intriguing studies about the one-third to one-half of us who aren't outgoing go-getters.
I was very happy about the time and effort spent finding and citing all of the research challenging current extrovert and group-mind tendencies in American corporate and intelligence cultures: brainstorming doesn't work, the loudest (or most persuasive) talker isn't the smartest person in the room, people don't actually work better in "teams" or in "open plan" desk arrangements.
In addition, I appreciated the time spent examining the overlap between introverts and "highly sensitive" people (about 70% of introverts are also more sensitive to their surroundings, and I don't mean in a woo sense of auras or an emotional sense of bursting into tears). Falling neatly into both categories, I found the extra information quite helpful.
Lastly, I was swept away by all of the studies and research work which is being completely ignored by the mainstream in their quest to keep from insulting anyone, or to forgo pointing out differences between people. I truly wish that we had a way to cover differences without immediately assigning worth to those differences. Our solution now, 'pretend there aren't any until we have to confront it, and then flip out' isn't working so well.
I read this in segments, and it seemed repetitive in form even then - I would not recommend trying to get through in one big push - it seems to work better in smaller quantities spaced out over some time.
Very good, very approachable, written in friendly conversational interview style, and full of research and intriguing studies about the one-third to one-half of us who aren't outgoing go-getters.
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