Scan barcode
abarnakwn_ourcolourfulpages's review against another edition
adventurous
dark
emotional
mysterious
fast-paced
- Plot- or character-driven? A mix
- Strong character development? N/A
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.75
Content Warnings
Graphic: Gun violence, Death of parent, Grief, Kidnapping, Lesbophobia, Murder, Blood, Death, and Injury/Injury detail
Moderate: Alcohol, Forced institutionalization, and Abandonment
Minor: Vomit
jess_justmaybeperfect's review
dark
emotional
inspiring
mysterious
reflective
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
5.0
A sapphic fantasy (with a romance) novella set in Chicago in 1941. Angels and demons. Warlocks and humans. Conversion therapy. Misogyny. Good people making ultimate sacrifices. A brother’s understanding. Seriously masterful take on personal faith. Saving a love for as long as possible because it’s worth all the risks.
Whew I have goosebumps! Can’t recommend this enough!
Whew I have goosebumps! Can’t recommend this enough!
Content Warnings
Graphic: Death, Forced institutionalization, Blood, Violence, Abandonment, Confinement, Sexism, Gaslighting, Homophobia, and Medical trauma
kelly04's review against another edition
adventurous
dark
mysterious
sad
tense
fast-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.0
Great premise, flawed execution
Despite the length, I struggled to get through this one, probably due to a couple factors. Top of mind are format and writing style.
The writing is very stylized and the POV main character is a tough-talking, streetwise sort of voice. I infer this is what the blurbs interpret as "noir," but it didn't really work for me. It's atmospheric but I found the wild analogies distracting and it felt like the style was getting in the way of really connecting with characters.
If it matters, it's also not particularly representative of classic noir writing. Raymond Chandler, Dashiell Hammett - these writers were direct and descriptive to the point of crudity. The heavily grounded aspect of noir is part of why it works: the mundane and the everyday, rendered in gritty detail. I don't feel that's seen here.
I think the plotting of the story also contributed. There are religious/fantastical elements and we're tossed immediately into the deep end with these and sort of working out the rules as we go along. This is common in fantasy writing and generally a good thing imo, but here I found disorienting.
Characters and story elements were introduced rather abruptly, and I felt I was still coming to grips with them by the time the story seemed to expect emotional buy-in or payoff. The rapid pacing made for some good reveals, but the impact would have been a lot greater if I'd had time to really get to know the world and characters. Teddy, for instance. Turns out he's super important, vital. But we get maybe two pages with him, collectively. Even having finished, I still don't think I could describe his personality, or his relationship with Helen all that well. Or verify their parents even existed.
This brings me to the format. A few more chapters, a couple sub-plots, just more pages in general could have allowed these characters and ideas more room to breathe. The fantasy elements in particular seem like they could have been fleshed out. <Spoiler> The Brotherhood, for instance: chauvinist magic dudes, got it. But are they like magic cops, gangsters, businessmen? Is this a regional thing, a nationwide thing? What does the "partnership" between male and female members look like? Is there a headquarters somewhere? Who exactly is Teddy reporting to?
Likewise, the angels. Is the Grigori a term I should know? Is this Catholic canon or something? Why is humility a hang up for the angels, as inherently subservient beings? What sort of beings are they? Emotional, soulless, judgmental, not? What does it mean to fall? Why is Teddy automatically damned for killing an angel? Especially one that was blatantly falling? How does the "death" of an angel even work?
As is natural, the story coalesced about two thirds of the way in but it was pretty choppy up to that point. This is definitely a personal quibble but the endingis poignant, or could be, but it seems like there should be more to it. Perhaps I'm just looking for a redemption arc where the author didn't want one, but why is Hell so very chatty while Heaven does nothing at all? There was a cosmic battle of good and evil with devils and souls be tossed asunder and the very gates of Heaven assailed - no one wanted to pop down to take stock?
Is there a reason besides "faith" that past angels didn't communicate with the earthbound angels? Did Haraniel? Why was Heaven "closed" in the first place? How does that even work? A cameo from Michael would've been a nice touch to tie up some loose ends. The story is toying with the ideas of mercy and damnation but I don't feel we explore them very fully, or get a satisfying payoff.
Despite the length, I struggled to get through this one, probably due to a couple factors. Top of mind are format and writing style.
The writing is very stylized and the POV main character is a tough-talking, streetwise sort of voice. I infer this is what the blurbs interpret as "noir," but it didn't really work for me. It's atmospheric but I found the wild analogies distracting and it felt like the style was getting in the way of really connecting with characters.
If it matters, it's also not particularly representative of classic noir writing. Raymond Chandler, Dashiell Hammett - these writers were direct and descriptive to the point of crudity. The heavily grounded aspect of noir is part of why it works: the mundane and the everyday, rendered in gritty detail. I don't feel that's seen here.
I think the plotting of the story also contributed. There are religious/fantastical elements and we're tossed immediately into the deep end with these and sort of working out the rules as we go along. This is common in fantasy writing and generally a good thing imo, but here I found disorienting.
Characters and story elements were introduced rather abruptly, and I felt I was still coming to grips with them by the time the story seemed to expect emotional buy-in or payoff. The rapid pacing made for some good reveals, but the impact would have been a lot greater if I'd had time to really get to know the world and characters.
This brings me to the format. A few more chapters, a couple sub-plots, just more pages in general could have allowed these characters and ideas more room to breathe. The fantasy elements in particular seem like they could have been fleshed out. <Spoiler> The Brotherhood, for instance: chauvinist magic dudes, got it. But are they like magic cops, gangsters, businessmen? Is this a regional thing, a nationwide thing? What does the "partnership" between male and female members look like? Is there a headquarters somewhere? Who exactly is Teddy reporting to?
Likewise, the angels. Is the Grigori a term I should know? Is this Catholic canon or something? Why is humility a hang up for the angels, as inherently subservient beings? What sort of beings are they? Emotional, soulless, judgmental, not? What does it mean to fall? Why is Teddy automatically damned for killing an angel? Especially one that was blatantly falling? How does the "death" of an angel even work?
As is natural, the story coalesced about two thirds of the way in but it was pretty choppy up to that point. This is definitely a personal quibble but the ending
Is there a reason besides "faith" that past angels didn't communicate with the earthbound angels? Did Haraniel? Why was Heaven "closed" in the first place? How does that even work? A cameo from Michael would've been a nice touch to tie up some loose ends.
Content Warnings
Graphic: Gun violence and Blood
Moderate: Abandonment
More...