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3.74 AVERAGE
3.74 AVERAGE
I’m mf sobbing wtf. I never read the classic this was based after but if this is the ya version of it… I don’t want it. I can’t believe that ending. It was brutal and well deserved and heartbreaking. I’m going to need to recover from that.
tense
Flaws of characters a main focus:
Yes
Content Warnings
Graphic: Confinement, Death, Emotional abuse
Moderate: Abandonment
Minor: Torture, Death of parent
mysterious
sad
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
Let me quickly save some of y’all time in reading this review and say that if you’re a Phan (I’m sorry) like me, you will enjoy Sing Me Forgotten! Not only is this a beautiful and well-written novel, but it is chock full of references to both the original Phantom novel and the 1986 musical, so people who love the Phantom’s tale will also thoroughly enjoy Isda’s story. As for those who are not familiar or fond of The Phantom of the Opera in any of its various forms, allow me to gush about Sing Me Forgotten to you!
In this gender-swapped re-telling of the story of The Phantom of the Opera, we enter a world in which memories are both a currency and a commodity. Sing Me Forgotten follows a young woman named Isda. Being that Isda is a gravoir—one who is able to see and manipulate the memories of others and whose face is characteristically marked by twisted skin—she is confined to the catacombs of an opera house under the protection of a man named Cyril, who is also the owner of the opera house. In this universe, we also have fendoirs who have the ability to extract memories from people. Though still treated with disdain, fendoirs are able to live in this society and practice their magic under the constraints of the elixir trade whereas gravoirs are to be killed upon birth. Within the shadows of the opera house, however, Isda is able to find sanctuary, though at the expense of not having much contact with the outside world aside from experiencing audiences’ memories each night at the end of the evening’s performance when she channels her gravoir magic at Cyril’s behest. However, Isda soon experiences excitement in her life when a new janitor is employed at the opera house: a young man named Emeric whom Isda discovers is a talented, if untrained, singer. From there, romance ensues, things burn, people die. It’s utterly perfect chaos.
I think we first need to talk about the characters because I can definitely see people having conflicting opinions about the main character in particular. For those who might not be familiar with The Phantom of the Opera, let me clarify: the Phantom is not the guy you want to root for, but who everyone nonetheless does root for. He’s temperamental, manipulative, and murders anyone who stands in his way. Much like the Phantom, Isda in Sing Me Forgotten is not necessarily the heroine you might hope for, but she’s the heroine you nonetheless find yourself loving. She’s moody and naïve, but it very much harks back to the years of grooming, manipulation, and fear that has been instilled in her. Despite these flaws, Isda is more than capable of taking the initiative to do good by others even when she has been treated as less and forced to hide for her whole life. A bit of a sidebar, but I also wanted to say how much I appreciated that Olson wasn’t afraid to go there with Isda’s physical appearance. A recurring problem I encounter in Phantom re-tellings is that the Phantom-figure’s appearance is mitigated which really just takes away from the story, in my opinion. Looking at you, Gerard Butler. I know it wasn’t your decision, Gerry, but I’m holding you accountable.
And then there’s Emeric. This playful, caramel-making smol child was the perfect opposite for Isda in every way, and I adored seeing their love story play out. The banter between the two actually reminded me a lot of Audrey Rose and Thomas Cresswell from Stalking Jack the Ripper, so if you love Cressworth as much as I do, you’ll most likely love Isda and Emeric’s relationship. Emeric on his own was a delight to have in the story not only for the fact that he brought some levity to the book, but his own motivations and backstory added another layer of heart and family that Isda’s own life is lacking.
I specifically also enjoyed the dynamic between Isda and Cyril, and I truly could have sat through a book that solely focused on Cyril himself, especially after that little glimpse we got into his memories toward the end.
Aside from the wonderful characters that Olson has created, I think the world-building is another aspect that she really delivered on. I found the concept of an economy built upon the exchange of memories to be not only interesting, but very unique, and I loved that this tied into singing, bringing in that aspect of music that is so crucial to The Phantom. In regards to the exchange of memories, the magic system, and the folklore included throughout the novel, I appreciated that Olson spaced out the introduction of all of these subjects rather than throwing everything at the reader all at once. One of my biggest pet peeves in writing is when authors don’t space out how they introduce the world they are creating to their readers and it feels like an assault of information. Olson was exceptional about gradually introducing information over time, and I cannot applaud that enough.
I know this may not be as interesting to people who aren’t familiar with The Phantom, but I also wanted to make note of how fun all the little easter eggs were that Olson sprinkled in in reference to the original Phantom novel, as well as the Andrew Lloyd Webber musical. We obviously were given similar character traits, but even smaller things like names and objects were throwbacks for people who know and love The Phantom, and I had a lot of fun with finding all of those as I read!
But, okay, time to address that ending, albeit it vaguely because I don’t want to spoil it for anyone. I do have the sense that the ending might leave people divided on how they feel, but I personally loved. It was gut-wrenching, but it felt appropriate to me given the source material.
All of this in mind, Olson has created a lush and immersive world in Sing Me Forgotten, and I think readers will enjoy this impressive debut whether or not they have any strong connection to The Phantom of the Opera; there is something in this story for everyone!
In this gender-swapped re-telling of the story of The Phantom of the Opera, we enter a world in which memories are both a currency and a commodity. Sing Me Forgotten follows a young woman named Isda. Being that Isda is a gravoir—one who is able to see and manipulate the memories of others and whose face is characteristically marked by twisted skin—she is confined to the catacombs of an opera house under the protection of a man named Cyril, who is also the owner of the opera house. In this universe, we also have fendoirs who have the ability to extract memories from people. Though still treated with disdain, fendoirs are able to live in this society and practice their magic under the constraints of the elixir trade whereas gravoirs are to be killed upon birth. Within the shadows of the opera house, however, Isda is able to find sanctuary, though at the expense of not having much contact with the outside world aside from experiencing audiences’ memories each night at the end of the evening’s performance when she channels her gravoir magic at Cyril’s behest. However, Isda soon experiences excitement in her life when a new janitor is employed at the opera house: a young man named Emeric whom Isda discovers is a talented, if untrained, singer. From there, romance ensues, things burn, people die. It’s utterly perfect chaos.
I think we first need to talk about the characters because I can definitely see people having conflicting opinions about the main character in particular. For those who might not be familiar with The Phantom of the Opera, let me clarify: the Phantom is not the guy you want to root for, but who everyone nonetheless does root for. He’s temperamental, manipulative, and murders anyone who stands in his way. Much like the Phantom, Isda in Sing Me Forgotten is not necessarily the heroine you might hope for, but she’s the heroine you nonetheless find yourself loving. She’s moody and naïve, but it very much harks back to the years of grooming, manipulation, and fear that has been instilled in her. Despite these flaws, Isda is more than capable of taking the initiative to do good by others even when she has been treated as less and forced to hide for her whole life. A bit of a sidebar, but I also wanted to say how much I appreciated that Olson wasn’t afraid to go there with Isda’s physical appearance. A recurring problem I encounter in Phantom re-tellings is that the Phantom-figure’s appearance is mitigated which really just takes away from the story, in my opinion. Looking at you, Gerard Butler. I know it wasn’t your decision, Gerry, but I’m holding you accountable.
And then there’s Emeric. This playful, caramel-making smol child was the perfect opposite for Isda in every way, and I adored seeing their love story play out. The banter between the two actually reminded me a lot of Audrey Rose and Thomas Cresswell from Stalking Jack the Ripper, so if you love Cressworth as much as I do, you’ll most likely love Isda and Emeric’s relationship. Emeric on his own was a delight to have in the story not only for the fact that he brought some levity to the book, but his own motivations and backstory added another layer of heart and family that Isda’s own life is lacking.
I specifically also enjoyed the dynamic between Isda and Cyril, and I truly could have sat through a book that solely focused on Cyril himself, especially after that little glimpse we got into his memories toward the end.
Aside from the wonderful characters that Olson has created, I think the world-building is another aspect that she really delivered on. I found the concept of an economy built upon the exchange of memories to be not only interesting, but very unique, and I loved that this tied into singing, bringing in that aspect of music that is so crucial to The Phantom. In regards to the exchange of memories, the magic system, and the folklore included throughout the novel, I appreciated that Olson spaced out the introduction of all of these subjects rather than throwing everything at the reader all at once. One of my biggest pet peeves in writing is when authors don’t space out how they introduce the world they are creating to their readers and it feels like an assault of information. Olson was exceptional about gradually introducing information over time, and I cannot applaud that enough.
I know this may not be as interesting to people who aren’t familiar with The Phantom, but I also wanted to make note of how fun all the little easter eggs were that Olson sprinkled in in reference to the original Phantom novel, as well as the Andrew Lloyd Webber musical. We obviously were given similar character traits, but even smaller things like names and objects were throwbacks for people who know and love The Phantom, and I had a lot of fun with finding all of those as I read!
But, okay, time to address that ending, albeit it vaguely because I don’t want to spoil it for anyone. I do have the sense that the ending might leave people divided on how they feel, but I personally loved. It was gut-wrenching, but it felt appropriate to me given the source material.
All of this in mind, Olson has created a lush and immersive world in Sing Me Forgotten, and I think readers will enjoy this impressive debut whether or not they have any strong connection to The Phantom of the Opera; there is something in this story for everyone!
I saw this book awhile ago and started reading it but found it really slow that I stopped at like the beginning of chapter 2.
But then yesterday I something spoke to me and told me go pick up the book and read it.
OH HOLY CHICKENS DID THAT VOICE DO ME GOOD.
I have no words to describe how well throughout and fantastic this novel was. I just couldn’t stop reading knowing I have church early next morning. Haha
The characters really pulled me in especially the male main character. He was just great like very well thought and written.
The female main character got on my nerves at times but as the story progressed and she grew and realized how cruel the world can actually be she just became a power women seriously.
This story about a misfit girl hidden in darkness because of her face and power who meets a boy with a past she can see and a voice that drowns her in colors and wonder was very compelling and touching.
DONT GET ME STARTED KN THE ENDING THO
OMG IM GONNA BE SAD ABT IT FOR DAYS BEFORE GETTING OVER IT.
But then yesterday I something spoke to me and told me go pick up the book and read it.
OH HOLY CHICKENS DID THAT VOICE DO ME GOOD.
I have no words to describe how well throughout and fantastic this novel was. I just couldn’t stop reading knowing I have church early next morning. Haha
The characters really pulled me in especially the male main character. He was just great like very well thought and written.
The female main character got on my nerves at times but as the story progressed and she grew and realized how cruel the world can actually be she just became a power women seriously.
This story about a misfit girl hidden in darkness because of her face and power who meets a boy with a past she can see and a voice that drowns her in colors and wonder was very compelling and touching.
DONT GET ME STARTED KN THE ENDING THO
OMG IM GONNA BE SAD ABT IT FOR DAYS BEFORE GETTING OVER IT.
My star ratings are completely arbitrary, to be honest.
This book is a YA fantasy gender-bent reimagining of The Phantom of the Opera. If you think that’s a lot to fit into a standalone novel, you are correct.
This book was dark. And I don’t know why I was expecting anything different from a Phantom of the Opera retelling, but it was different than I expected. It was a bold move to make the Phantom-inspired character a young woman. It completely changed my perception of that character and made me question how gender roles play a part in the original Phantom-Christine relationship.
The lore/magic system is interesting and creative but at times opaque and confusing. I love that this book plays with the idea of commoditizing memories. A person’s memories are something that they can buy or sell, and the FMC’s main power is to view, manipulate, and even steal memories. That’s cool! However, I felt like I never got a full picture of the fantasy world’s history, and some aspects of the magic system were strange as well.
I don’t want to give away the ending, but it stays pretty true to the source material.
I just didn’t love this book. I’m trying to figure out why. Some YA books transcend a younger audience, but the writing in this book definitely feels YA-coded. And that is sort of strangely juxtaposed with how dark it is at times.
There you are
This book is a YA fantasy gender-bent reimagining of The Phantom of the Opera. If you think that’s a lot to fit into a standalone novel, you are correct.
This book was dark. And I don’t know why I was expecting anything different from a Phantom of the Opera retelling, but it was different than I expected. It was a bold move to make the Phantom-inspired character a young woman. It completely changed my perception of that character and made me question how gender roles play a part in the original Phantom-Christine relationship.
The lore/magic system is interesting and creative but at times opaque and confusing. I love that this book plays with the idea of commoditizing memories. A person’s memories are something that they can buy or sell, and the FMC’s main power is to view, manipulate, and even steal memories. That’s cool! However, I felt like I never got a full picture of the fantasy world’s history, and some aspects of the magic system were strange as well.
I don’t want to give away the ending, but it stays pretty true to the source material.
I just didn’t love this book. I’m trying to figure out why. Some YA books transcend a younger audience, but the writing in this book definitely feels YA-coded. And that is sort of strangely juxtaposed with how dark it is at times.
There you are
It’s a gender flipped “Phantom of the Opera” retelling with a lot more supposedly added to it, but never quite gets there.
adventurous
dark
emotional
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:
No
This book was amazing! I picked it up not expecting much and was blown away. I could not put it down, this was truly a masterpiece and I cannot stop thinking about it.