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3.74 AVERAGE
3.74 AVERAGE
dark
mysterious
medium-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Find this review and more on my blog at Worlds Unlike Our Own.
3.5 stars
Thank you to the publisher, Inkyard Press, and Edelweiss for providing me with an eARC of this book in exchange for an honest review.
Isda is a gravoir, someone with the ability to alter people’s memories when they sing. In the kingdom of Channe, where memories are currency, gravoirs are condemned to death on sight, but Cyril rescued her from the well she was thrown into as a baby and she has lived in the opera house he owns all her life. He only asks that Isda use her ability to keep ticket sales high and that she never allows herself to be seen, which is a simple enough rule for her to follow until she accidentally meets Emeric. His voice calls to her and his memories are brighter than any she has ever seen before, but more importantly, she gets a glimpse of something in one of his memories, that may be a way out of a life in hiding. Determined to discover more, Isda begins to spend more time with Emeric, searching his memories as he sings under the guise of vocal training, but as she sees more and more, her desire to have a life outside the opera house too grows.
While The Phantom of the Opera is not a particular favourite of mine, I remembered enough of the story to appreciate this gender bent retelling which has a very similar tone and feel to the original. This was a intriguing take on the story, working in a magic system that blends so well with the music. The author has clearly put quite a bit of effort into the world-building and lore of this unique world – evident from how easy this story was to follow. I really liked the writing style and how rich and vivid the descriptions were; it really brought the world and characters to life.
Isda is definitely one of the most interesting YA heroines I’ve come across in recent years and her arc is a fascinating one. As the book progresses, she grows into such a beautifully flawed and morally grey character that you feel like rooting for, but are not quite sure whether you should be. As the story is entirely told from Isda’s POV, so we get to see her state of mind first hand, how cruelty and betrayal turn her into the very monster everyone thinks her to be.
What I didn’t like though was that when everything was said and done, nothing had really changed in Isda’s world and the situation for gravoirs probably got worse than before. Isda really went off the rails towards the end (no matter how well deserved it was in the case of some people), and while she did the right thing with regards to Emeric, she didn’t really make up for her actions in any way. Not to mention that the problem she would have faced with Emeric is the exact same problem that his sister will undoubtedly face at some point, but that’s never given any consideration.
The ending felt really rushed, and as I mentioned left a few things unresolved in a manner that didn’t completely make sense to me. If there’s a sequel planned, this would perfect, but this book seems to be a standalone. However, for a debut novel, it was quite good, especially concept-wise. Overall, this was an enjoyable read and though I didn’t like a few things about it, I would still recommend it.
3.5 stars
Thank you to the publisher, Inkyard Press, and Edelweiss for providing me with an eARC of this book in exchange for an honest review.
Isda is a gravoir, someone with the ability to alter people’s memories when they sing. In the kingdom of Channe, where memories are currency, gravoirs are condemned to death on sight, but Cyril rescued her from the well she was thrown into as a baby and she has lived in the opera house he owns all her life. He only asks that Isda use her ability to keep ticket sales high and that she never allows herself to be seen, which is a simple enough rule for her to follow until she accidentally meets Emeric. His voice calls to her and his memories are brighter than any she has ever seen before, but more importantly, she gets a glimpse of something in one of his memories, that may be a way out of a life in hiding. Determined to discover more, Isda begins to spend more time with Emeric, searching his memories as he sings under the guise of vocal training, but as she sees more and more, her desire to have a life outside the opera house too grows.
While The Phantom of the Opera is not a particular favourite of mine, I remembered enough of the story to appreciate this gender bent retelling which has a very similar tone and feel to the original. This was a intriguing take on the story, working in a magic system that blends so well with the music. The author has clearly put quite a bit of effort into the world-building and lore of this unique world – evident from how easy this story was to follow. I really liked the writing style and how rich and vivid the descriptions were; it really brought the world and characters to life.
Isda is definitely one of the most interesting YA heroines I’ve come across in recent years and her arc is a fascinating one. As the book progresses, she grows into such a beautifully flawed and morally grey character that you feel like rooting for, but are not quite sure whether you should be. As the story is entirely told from Isda’s POV, so we get to see her state of mind first hand, how cruelty and betrayal turn her into the very monster everyone thinks her to be.
What I didn’t like though was that when everything was said and done, nothing had really changed in Isda’s world and the situation for gravoirs probably got worse than before. Isda really went off the rails towards the end (no matter how well deserved it was in the case of some people), and while she did the right thing with regards to Emeric, she didn’t really make up for her actions in any way. Not to mention that the problem she would have faced with Emeric is the exact same problem that his sister will undoubtedly face at some point, but that’s never given any consideration.
The ending felt really rushed, and as I mentioned left a few things unresolved in a manner that didn’t completely make sense to me. If there’s a sequel planned, this would perfect, but this book seems to be a standalone. However, for a debut novel, it was quite good, especially concept-wise. Overall, this was an enjoyable read and though I didn’t like a few things about it, I would still recommend it.
Never knew I needed a magic-infused, gender-flipped retelling of The Phantom of the Opera, but I totally did. Now, granted, it has been ages since I read the original, so I really can't comment on its connection to Leroux's novel, but I enjoyed this. I loved the magic system. Isda is fascinating and lovely and terrifying. All of the characters were so interesting and I really want a sequel even though this ends well, because I want more of these characters and this world.
dark
emotional
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Complicated
Reviewed on Coffee, Book, & Candle.
RATING: 2/5 Stars
Plot: 1.5/5 stars
Characters: 2/5 stars
World: 3/5 stars
I'm obsessed with Phantom of the Opera and all its aesthetics, but I've been burned by retellings before. So I went into yet another Phantom book with mass amounts of skepticism yet a timid hope it would prove me wrong.
Reader, it did not.
Even looking at this book as "inspired by" rather than "retold" didn't help. I tried. I wanted so badly to like it. YA often surprises me with its complexity and darkness, so I hoped the lack of adult content and characters wouldn't be a setback to the original grim, adult inspiration.
Alas.
WORLD
The world-building being the strongest suit and main principle the plot is built on, I'll start with that.
The opera house has a gothic, creeping atmosphere that bolstered my hopes, and the French-inspired society plays with an intriguing concept: using memory elixir as a source of economy. Gifted people known as fendoirs can extract golden elixir containing memories from someone who is singing. This is a clever, if extravagant, way to make song an integral part of the novel without it seeming silly. I always wonder how musicals might translate into prose, and this is a unique direction to go in.
Fendoirs are considered a necessary evil to society but are persecuted out of fear. More hated than fendoirs, however, are graviors: suped-up fendiors who are born disfigured but can obtain various powers by carving special symbols into their skin. Once upon a time, three infamous gravior women banded together and rained terror upon the country before they were executed. Thanks to this insurrection, any gravior child is to be killed immediately.
With a premise like that, I was prepared for a down-and-dirty plot. Give me blood in the streets, give me a Les Misérables rebellion, give me a dark heroine who will show the world exactly who they've attempted to cage.
Yeah, not so much.
PLOT & CHARACTERS
What even is the plot?
Isda's father figure Cyril took her in as a child but hides her from the world Quasimodo-style. He claims it's to protect her, but he so clearly abuses her power for his own gain. He asks Isda to alter opera-goers' memories to make his mediocre opera house the most famous and brainwashes her into believing he's on the fendoirs' side . . . by keeping them in their place? Cyril in no way masks his hatred for Isda's kind, but she's somehow convinced he has her best interest at heart.
Isda, darling, he's talking about enslaving your people and slaughtering any who resist. Your helpless, lower-class peers who already have next to no rights and are mistreated daily.
Isda is a strange mix between uncaring and naïve. She easily complies with Cyril's wishes to psychologically torment children then apply that torture to a man whose job Cyril wants, and sees no problem with any of it.
I just . . . I can't root for her. Even with the insta-love interest Emeric (whose sweet, easygoing sense of humor is the only reason I rated characters at 2 instead of 1) telling Isda that what she's doing is wrong, she stubbornly refuses to assess her or Cyril's actions. It doesn't get better, either. She repeatedly tortures people at Cyril's behest, has zero regard for others' free will, roots through and drains Emeric's memories while lying to him about it, and only has the decency to feel guilty when she's caught.
I am all for a morally gray character, but Isda is just plain gullible and selfish—a horrible combination that makes her an easy, unempathetic pawn. If this is meant to be a villain story, I'd at least like a badass one—not a spoiled brat whose only concern is wearing pretty dresses and being in the limelight.
Emeric, my dude, why are you still here? She gives one robotic "sorry" for leeching memories of your dead family, the only thing you have left of them, and now you're in love with her again?
The ending ties virtually none of the plot points up, makes no use of the larger world, and has little emotional impact except that you're sorry Emeric is weirdly attached to someone so horrible.
RIP Emeric's common sense.
Explore more from the blog at coffeebookandcandle.com.
RATING: 2/5 Stars
Plot: 1.5/5 stars
Characters: 2/5 stars
World: 3/5 stars
I am a shadow. A shimmering of black satin. A wraith in the dark.
I'm obsessed with Phantom of the Opera and all its aesthetics, but I've been burned by retellings before. So I went into yet another Phantom book with mass amounts of skepticism yet a timid hope it would prove me wrong.
Reader, it did not.
Even looking at this book as "inspired by" rather than "retold" didn't help. I tried. I wanted so badly to like it. YA often surprises me with its complexity and darkness, so I hoped the lack of adult content and characters wouldn't be a setback to the original grim, adult inspiration.
Alas.
WORLD
The world-building being the strongest suit and main principle the plot is built on, I'll start with that.
The opera house has a gothic, creeping atmosphere that bolstered my hopes, and the French-inspired society plays with an intriguing concept: using memory elixir as a source of economy. Gifted people known as fendoirs can extract golden elixir containing memories from someone who is singing. This is a clever, if extravagant, way to make song an integral part of the novel without it seeming silly. I always wonder how musicals might translate into prose, and this is a unique direction to go in.
Fendoirs are considered a necessary evil to society but are persecuted out of fear. More hated than fendoirs, however, are graviors: suped-up fendiors who are born disfigured but can obtain various powers by carving special symbols into their skin. Once upon a time, three infamous gravior women banded together and rained terror upon the country before they were executed. Thanks to this insurrection, any gravior child is to be killed immediately.
With a premise like that, I was prepared for a down-and-dirty plot. Give me blood in the streets, give me a Les Misérables rebellion, give me a dark heroine who will show the world exactly who they've attempted to cage.
Yeah, not so much.
PLOT & CHARACTERS
What even is the plot?
Isda's father figure Cyril took her in as a child but hides her from the world Quasimodo-style. He claims it's to protect her, but he so clearly abuses her power for his own gain. He asks Isda to alter opera-goers' memories to make his mediocre opera house the most famous and brainwashes her into believing he's on the fendoirs' side . . . by keeping them in their place? Cyril in no way masks his hatred for Isda's kind, but she's somehow convinced he has her best interest at heart.
"If those fendoirs are siphoning elixir away for themselves as I suspect they are, they could stage an uprising. [. . .] I'm willing to do what's necessary, no matter how difficult, to rid our city of danger."
Isda, darling, he's talking about enslaving your people and slaughtering any who resist. Your helpless, lower-class peers who already have next to no rights and are mistreated daily.
Cyril would make a fine head of Council. Fearless and brilliant, careful and well-spoken, it's a marvel it's taken so long for the Council of Channe to name him First Advisor.
Isda is a strange mix between uncaring and naïve. She easily complies with Cyril's wishes to psychologically torment children then apply that torture to a man whose job Cyril wants, and sees no problem with any of it.
"You'll go into his memories and put things there like we've been practicing with the children back in my office. [. . .] The goal, dear Isda, is to make the man go mad."
[. . .] Cyril's methods may be extravagant at times, but it is only because he is so determined.
I just . . . I can't root for her. Even with the insta-love interest Emeric (whose sweet, easygoing sense of humor is the only reason I rated characters at 2 instead of 1) telling Isda that what she's doing is wrong, she stubbornly refuses to assess her or Cyril's actions. It doesn't get better, either. She repeatedly tortures people at Cyril's behest, has zero regard for others' free will, roots through and drains Emeric's memories while lying to him about it, and only has the decency to feel guilty when she's caught.
I am all for a morally gray character, but Isda is just plain gullible and selfish—a horrible combination that makes her an easy, unempathetic pawn. If this is meant to be a villain story, I'd at least like a badass one—not a spoiled brat whose only concern is wearing pretty dresses and being in the limelight.
"You're going?"
"Of course I'm going," I snap. "They may be celebrating your performance, but who taught you? I deserve to go to that party as much as any of those dolts you share the stage with."
Emeric, my dude, why are you still here? She gives one robotic "sorry" for leeching memories of your dead family, the only thing you have left of them, and now you're in love with her again?
The ending ties virtually none of the plot points up, makes no use of the larger world, and has little emotional impact except that you're sorry Emeric is weirdly attached to someone so horrible.
RIP Emeric's common sense.
Explore more from the blog at coffeebookandcandle.com.
Title: Sing Me Forgotten
Author: Jessica S. Olsen
Synopsis: Isda does not exist. At least not beyond the opulent walls of the opera house.
Cast into a well at birth for being one of the magical few who can manipulate memories when people sing, she was saved by Cyril, the opera house's owner. Since that day, he has given her sanctuary from the murderous world outside. All he asks in return is that she use her power to keep ticket sales high–and that she stay out of sight. For if anyone discovers she survived, Isda and Cyril would pay with their lives.
But Isda breaks Cyril's cardinal rule when she meets Emeric Rodin, a charming boy who throws her quiet, solitary life out of balance. His voice is unlike any she's ever heard, but the real shock comes when she finds in his memories hints of a way to finally break free of her gilded prison.
Haunted by this possibility, Isda spends more and more time with Emeric, searching for answers in his music and his past. But the price of freedom is steeper than Isda could ever know. For even as she struggles with her growing feelings for Emeric, she learns that in order to take charge of her own destiny, she must become the monster the world tried to drown in the first place.
Review: This audiobook was fantastic! The narrator did a great job! I was so immersed in this unique world! It reminded me heavily of Phantom Of The Opera! The romance was sweet and I loved them together! The writing was great and the ending left me devastated! It was very bitter sweet! But I understand why it ended the way it! I look forward to reading more books from Jessica S. Olsen!
Author: Jessica S. Olsen
Synopsis: Isda does not exist. At least not beyond the opulent walls of the opera house.
Cast into a well at birth for being one of the magical few who can manipulate memories when people sing, she was saved by Cyril, the opera house's owner. Since that day, he has given her sanctuary from the murderous world outside. All he asks in return is that she use her power to keep ticket sales high–and that she stay out of sight. For if anyone discovers she survived, Isda and Cyril would pay with their lives.
But Isda breaks Cyril's cardinal rule when she meets Emeric Rodin, a charming boy who throws her quiet, solitary life out of balance. His voice is unlike any she's ever heard, but the real shock comes when she finds in his memories hints of a way to finally break free of her gilded prison.
Haunted by this possibility, Isda spends more and more time with Emeric, searching for answers in his music and his past. But the price of freedom is steeper than Isda could ever know. For even as she struggles with her growing feelings for Emeric, she learns that in order to take charge of her own destiny, she must become the monster the world tried to drown in the first place.
Review: This audiobook was fantastic! The narrator did a great job! I was so immersed in this unique world! It reminded me heavily of Phantom Of The Opera! The romance was sweet and I loved them together! The writing was great and the ending left me devastated! It was very bitter sweet! But I understand why it ended the way it! I look forward to reading more books from Jessica S. Olsen!
adventurous
emotional
mysterious
medium-paced
dark
emotional
inspiring
mysterious
reflective
sad
tense
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
Such a beautiful rendition of The Phantom of the Opera. Definitely will have to read it again in the future
dark
emotional
mysterious
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
Didn't enjoy what I read, so I gave it away