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loxeletters's reviews
230 reviews
The Berry Pickers by Amanda Peters
4.5
I loved a lot about this. The only thing It Was Kind Of Missing Was I was just kind of neutral about was the prose style - not at all bad, just didn't ever impress me.
Not Otherwise Specified by Hannah Moskowitz
emotional
hopeful
sad
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
4.0
Made me cry at times, which I always appreciate.
Some of this was just extremely teenage-y, which I don't really wanna deduct points for. The protagonist definitely had an insanely strong voice (from a writing pov), which stood out especially in contrast to the excerpt of another book by the author at the end. Very impressive.
I do think the ED really played quite a minor role in this, which of course can be reality for some people. But then the sporadic outbursts didn't ring true to me and sometimes really just seemed to come out of nowhere. At the same time, it was quite refreshing to see an ED book deal with multiple complex, overlapping issues at once.
Positive but somewhat mixed feelings overall.
Some of this was just extremely teenage-y, which I don't really wanna deduct points for. The protagonist definitely had an insanely strong voice (from a writing pov), which stood out especially in contrast to the excerpt of another book by the author at the end. Very impressive.
I do think the ED really played quite a minor role in this, which of course can be reality for some people. But then the sporadic outbursts didn't ring true to me and sometimes really just seemed to come out of nowhere. At the same time, it was quite refreshing to see an ED book deal with multiple complex, overlapping issues at once.
Positive but somewhat mixed feelings overall.
Content Warnings
Graphic: Biphobia, Bullying, Eating disorder, Religious bigotry, and Toxic friendship
Moderate: Homophobia and Racism
Dark Matter by Michelle Paver
adventurous
dark
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
4.0
Above all, this is an immensely readable book - I've finished it in just three days (three work days!). For that alone I would give it 4 stars.
Often, I find journal-style books quite tedious, but here I found it worked very well. The MC's thoughts and his character development were very compelling. The scary elements were very strong in the beginning, but got a bit old at some point. Nevertheless, until the final showdown, I was usually at least a bit tense reading about the various mysterious occurrences.
The relationship between Jack and Gus was very sweet!At first I was a bit sceptical about the dedication to Gus that Jack shows in the epilogue, even after so much time - but then the circumstances are extraordinary AND it was set up well that Jack is antisocial and a bit an extreme type.
The ending is perhaps the weakest point - the buildup was strong, but the "showdown" was no longer as scary to me and felt rushed and dragging at the same time. What happened on the boat also went down too quickly to have true emotional impact for me.
The final chapter seemed almost superfluous - but I generally just tend to like my books a bit more open-ended.Jack's sudden hatred for physics and the sea specifically felt a bit misplaced - I would've rather seen him dealing with darkness, which affected him the most during those weeks. And again, the scene of Gus' death was too quick and brief so the fear of the sea doesn't feel as grounded in his experience. All that said, I did love going back to Algie's letter from the beginning and re-reading it with the new knowledge.
Reading other reviews, I found it interesting to see some found our protagonist annoying. While he's for sure a bit grouchy, I found the other characters in the book far less sympathetic, if mostly due to the classism. Which, by the way, I though the book handled this topic very well.
Often, I find journal-style books quite tedious, but here I found it worked very well. The MC's thoughts and his character development were very compelling. The scary elements were very strong in the beginning, but got a bit old at some point. Nevertheless, until the final showdown, I was usually at least a bit tense reading about the various mysterious occurrences.
The relationship between Jack and Gus was very sweet!
The ending is perhaps the weakest point - the buildup was strong, but the "showdown" was no longer as scary to me and felt rushed and dragging at the same time. What happened on the boat also went down too quickly to have true emotional impact for me.
The final chapter seemed almost superfluous - but I generally just tend to like my books a bit more open-ended.
Reading other reviews, I found it interesting to see some found our protagonist annoying. While he's for sure a bit grouchy, I found the other characters in the book far less sympathetic, if mostly due to the classism. Which, by the way, I though the book handled this topic very well.
Content Warnings
Graphic: Animal cruelty, Confinement, Abandonment, and Classism
Moderate: Death, Panic attacks/disorders, Grief, Murder, and Alcohol
An Artist of the Floating World by Kazuo Ishiguro
challenging
reflective
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
This novel is told from the perspective of Ono, a retired painter in post-war Japan. Over the course of two years, four occasions (each to do with his daughters and grandson) cause him to reflect on his past as a painter before and during the war years. Told in simple yet captivating prose, his recounts are very non-linear and deal with themes of societal standing and power, the meaning of art, a changing nation, and responsibility/guilt.
While reading this book, I was often reminded of a different but somewhat related German novel, Unscharfe Bilder by Ulla Hahn, which also explores a father' feelings of ir/responsibility for his actions during WWII. Both novels captivated me similarly.
In this case, however, the details as to Ono's actions are much more vague, and the most time is spent covering his career as a painter before the war, only hinting at his contributions to the war propaganda and as an advisor to some secret police committee .
In the first half of the book, I found the protagonist to be quite insufferable. His period-typical misogyny and patriarchal attitude, expressed in his refusal to take his adult daughters seriously, was honestly hard to read about - especially since it went pretty much unchallenged. In this sense, the author managed to perfectly portray the attitude of some older people even today. This also reminded me a lot of Hahn's aforementioned novel.
As the book continues, I grew more sympathetic towards Ono, as he showed some remorse about his past actions. The aforementioned misogyny remained, of course. He never totally convinced me, though, because his reasoning that actions borne of genuine belief in a cause are somehow respectable seems to me like a dangerous notion - surely, many war criminals and modern-day Nazis also act/ed out of passion for a cause? Then again, he is not expressly pleading for forgiveness on this base, as far as I recall.
Towards the end, we then get a very important chapter, which pulls into question Ono's whole recount as his daughter denies the importance of Ono's past. After he has multiple times himself pulled into doubt some of the details of his recollection, the reader is tempted to view this as a case of an unreliable narrator. Yet soon after, we are shown Ono reminiscing with an old friend/colleague who shares his perspective, giving reason to take Ono's account seriously.
I believe the author is trying to convey a different message, though which I am not entirely sure. Perhaps, this is meant to emphasise the difference in perception and the inability of outsiders to grasp the guilt of others. To some extent, it may also relfect the result of the failure to talk about one's misdeeds. Yet at some points in the book, certain characters are very much hung up on Ono's past - Kuroda being a prominent example, and Shintaro. Maybe it is a commentary on these actions only being brought up when absolutely necessary - as in the case of marriage negotiations - but silenced when they may disturb family peace.
I feel like Ono's character growth throughout the book is hard to grasp - especially since the aforementioned period-typical flaws remain. One aspect I particularly enjoyed, which exemplifies his growth, is the following: In the beginning of the book, Ono expresses his disdain for the new way of things after the war and for the people's attitudes towards war criminals, and the younger generations generally. His love and missing of the old pleasure district exemplifies this rejection of the new Japan. Yet the last scene of the book shows him sitting happily on a bench before an office block where the old pleasure district used to be, watching young office workers, and wishing them well. I interpret this to mean he has let go of the past - both of pre-war era Japan, and of his guilt and denial regarding his own actions.
Another reviewer mentioned, with regard to this last scene, that Japan seems to simply have replaced the doctrine of imperialism with capitalism. This thought didn't occur to me while reading, but I find it a quite compelling interpretation, given just a few scenes before, we saw Ono's son in law excitedly discussing his workplace, his boss and prospects for global expansion. Following leaders blindly while serving a cause remains the modus operandi.
Overall, this book convinced me with its clean, compelling prose and complex themes and characters. Some parts were frustrating to read, others would not typically appeal to me - the nested narrative structure, for example - yet the combination of subject matter and the writing style kept me engaged throughout. This is my second read by Ishiguro and while Klara and the Sun captured me more on an emotional level, the complex narrative here is something I appreciate just as much. I can't wait to read more of his works.
While reading this book, I was often reminded of a different but somewhat related German novel, Unscharfe Bilder by Ulla Hahn, which also explores a father' feelings of ir/responsibility for his actions during WWII. Both novels captivated me similarly.
In this case, however, the details as to Ono's actions are much more vague, and the most time is spent covering his career as a painter before the war, only hinting at his
In the first half of the book, I found the protagonist to be quite insufferable. His period-typical misogyny and patriarchal attitude, expressed in his refusal to take his adult daughters seriously, was honestly hard to read about - especially since it went pretty much unchallenged. In this sense, the author managed to perfectly portray the attitude of some older people even today. This also reminded me a lot of Hahn's aforementioned novel.
As the book continues, I grew more sympathetic towards Ono, as he showed some remorse about his past actions. The aforementioned misogyny remained, of course. He never totally convinced me, though, because
Towards the end, we then get a very important chapter, which
I believe the author is trying to convey a different message, though which I am not entirely sure. Perhaps, this is meant to emphasise the difference in perception and the inability of outsiders to grasp the guilt of others. To some extent, it may also relfect the result of the failure to talk about one's misdeeds. Yet at some points in the book, certain characters are very much hung up on Ono's past - Kuroda being a prominent example, and Shintaro. Maybe it is a commentary on these actions only being brought up when absolutely necessary - as in the case of marriage negotiations - but silenced when they may disturb family peace.
I feel like Ono's character growth throughout the book is hard to grasp - especially since the aforementioned period-typical flaws remain. One aspect I particularly enjoyed, which exemplifies his growth, is the following:
Another reviewer mentioned, with regard to this last scene, that Japan seems to simply have replaced the doctrine of imperialism with capitalism. This thought didn't occur to me while reading, but I find it a quite compelling interpretation, given just a few scenes before, we saw Ono's son in law excitedly discussing his workplace, his boss and prospects for global expansion. Following leaders blindly while serving a cause remains the modus operandi.
Overall, this book convinced me with its clean, compelling prose and complex themes and characters. Some parts were frustrating to read, others would not typically appeal to me - the nested narrative structure, for example - yet the combination of subject matter and the writing style kept me engaged throughout. This is my second read by Ishiguro and while Klara and the Sun captured me more on an emotional level, the complex narrative here is something I appreciate just as much. I can't wait to read more of his works.
Content Warnings
Graphic: Misogyny
Moderate: Death, Emotional abuse, Suicide, Fire/Fire injury, and Alcohol
Minor: War
Peony In Love by Lisa See
- Strong character development? Yes
- Loveable characters? It's complicated
- Flaws of characters a main focus? Yes
3.75
This book follows the three (subsequent) wives of a poet in 17th century China, through the eyes of Peony, his first wife.
A central role in the novel is taken on by The Peony Pavilion, an opera telling the story of a young girl who dies and meets a man in a dream, who falls in love with her and resurrects her. Both in the novel and in the real world, this opera inspired young women to starve themselves to death out of "lovesickness", hoping to find true love in the afterworld.
This book deals with the different types of love - mother love, romantic love, sexual love. It explores jealousy and selfless love in contrast, Chinese afterworld mythology, the meaning of women's writing, and the control women did or didn't have about their lives.
The first part of the book, Peony falling in love anddying from lovesickness had the biggest effect on me. I felt Peony's pain and her tragic end made me shed more than a few tears. The following two parts, dealing with Peony's struggles in the afterworld as a ghost without a dotted ancestor tablet and her efforts trying to make her almost-husband happy from beyond the grave were still gripping but did not carry the same emotional punch.
Here is where my issues with the book start: what Peony does to the second wive Tan Ze is horrific, and in my opinion the meaning and effects of her actions are not explored sufficiently. In fact, the ending of the book almost tries to absolve her of all guilt by framing the second wife Tan Ze as a jealous and insecure girl who is responsible for some of the other things Peony blamed herself for. This is unacceptable, in my opinion.
Secondly, some things just felt too contrived. From the start, many thing fall conveniently into place - which is fine sometimes, but it gets a bit much. One moment that really took me out of the story is the revelation that Peony's mother wrote the famous poem on the wall during the massacre . It just felt... too much.
I love See's books for their beautiful historical settings, their eye to detail regarding traditions and culture, and their complex female relationships. In this book, our narrators existence as a lonely "hungry ghost" means we get little direct interaction between her and other characters for large chunks of the book. This is probably why the second and third part feel weaker to me than the first.
Nevertheless, I devoured this book. While I see the first part as being the strongest, and while I have big gripes with how the book deals with Peony's control over Tan Ze, I still had lots of fun reading it. I still was gripped. Lisa See remains an author I consistently enjoy and return to for beautiful historical fiction with a focus on women's lives and relationships.
A central role in the novel is taken on by The Peony Pavilion, an opera telling the story of a young girl who dies and meets a man in a dream, who falls in love with her and resurrects her. Both in the novel and in the real world, this opera inspired young women to starve themselves to death out of "lovesickness", hoping to find true love in the afterworld.
This book deals with the different types of love - mother love, romantic love, sexual love. It explores jealousy and selfless love in contrast, Chinese afterworld mythology, the meaning of women's writing, and the control women did or didn't have about their lives.
The first part of the book, Peony falling in love and
Here is where my issues with the book start: what Peony does to the second wive Tan Ze is horrific, and in my opinion the meaning and effects of her actions are not explored sufficiently. In fact, the ending of the book almost tries to absolve her of all guilt by framing the second wife Tan Ze as a jealous and insecure girl who is responsible for some of the other things Peony blamed herself for. This is unacceptable, in my opinion.
Secondly, some things just felt too contrived. From the start, many thing fall conveniently into place - which is fine sometimes, but it gets a bit much. One moment that really took me out of the story is the revelation that
I love See's books for their beautiful historical settings, their eye to detail regarding traditions and culture, and their complex female relationships. In this book, our narrators existence as a
Nevertheless, I devoured this book. While I see the first part as being the strongest, and while I have big gripes with how the book deals with Peony's control over Tan Ze, I still had lots of fun reading it. I still was gripped. Lisa See remains an author I consistently enjoy and return to for beautiful historical fiction with a focus on women's lives and relationships.
Content Warnings
Graphic: Death, Eating disorder, Misogyny, and Rape
Moderate: Confinement, Slavery, Injury/Injury detail, and Classism
Xerox by Fien Veldman
reflective
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
4.0
Gerade der erste Teil dieses Buchs hat mich wirklich gepackt.
Die Vergangenheit der Erzählerin ist mir aber bis zum Schluss ein bisschen ein Rätsel geblieben.
Die Vergangenheit der Erzählerin ist mir aber bis zum Schluss ein bisschen ein Rätsel geblieben.
Content Warnings
Graphic: Chronic illness, Mental illness, Panic attacks/disorders, and Classism
Moderate: Misogyny and Fire/Fire injury
Minor: Alcoholism
The Whistler by John Grisham
adventurous
medium-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
3.0
Entertaining but a LOT of telling instead of showing, which really takes you out of the action. Towards the end, the tension generally was pretty low, expect for one subplot. The use of the phrase "bad guys" always strikes me as a bit... immature, but that's a minor complaint.
Content Warnings
Graphic: Car accident
Moderate: Gun violence and Grief
Minor: Alcoholism, Infidelity, and Suicidal thoughts
The White Book by Han Kang
reflective
sad
slow-paced
- Plot- or character-driven? Character
It took me decidedly too long to understand what the book is doing, with its structure etc. I think I really need to reread it with new, "kneoning" eyes from the start to get the full impact.
Content Warnings
Graphic: Grief
Moderate: Death
Männer sterben bei uns nicht by Annika Reich
mysterious
reflective
sad
tense
- Plot- or character-driven? Character
- Loveable characters? No
4.0
Dieses Buch ist ein wunderbares Porträt einer komplizierten, toxischen Familie an Frauen, in der keiner unschuldig ist. Die Beziehungen der Protagonistin Luise vor allem zu ihrer Mutter und Großmutter, aber auch zu ihrer Tante, Cousine, und der Hausfrau, werden sehr schön herausgearbeitet.
Die Geschichte wird in kurzen Kapiteln auf zwei Ebenen erzählt: zum Einen, die Beerdigung der Großmutter, die den Rahmen für das Buch bildet; zum Anderen, kurze Rückblicke sowohl auf die Kindheit der Protagonistin Luise als auch auf die nahe Vergangenheit. Dies ist grundsätzlich ein gut gelungenes Konstrukt. Da die Ebene der Beerdigung die ganze Zeit spannend bleibt, und die einzelnen Szenen der zweiten Ebene inhaltlich mehr oder weniger abgeschlossen sind, hat man als Leserin nicht das Gefühl, man würde lieber auf der einen oder anderen Ebene verbleiben.
Gleichzeitig ist es an vielen Stellen eher plump in seinen Übergängen/Einleitungen neuer Kapitel sowies auch in Verweisen auf andere Stellen im Text. Ein wenig Subtililät hätte hier gut getan, die Leserin ist ja nicht blöd. (Andere Rezensionen schreiben, das Buch betreibe zu viel "show" und zu wenig "tell". Während es richtig ist, dass viele Dinge nur vage angedeutet werden, sind mir tatsächlich einige Stellen negativ aufgefallen, an denen bestimmte Dinge doch einfach sehr plump gesagt werden, anstatt die Leserin selbst drauf kommen zu lassen.)
Auch das Ende fällt eher flach, stand doch die Option gegen die sich Luise entscheidet nie ernsthaft im Raum. Und das, wofür sich Luise entscheidet, bleibt vage und fast unverständlich - welche Mädchen will sie genau beschützen? Ihre Kinder? Das kommt total aus dem Nichts.
Ein weiteres Problem ist das Anwesen. Es wird in diesem Buch häufig personifiziert und ihm wird eine Anziehungskraft zugeschrieben, die mir nicht glaubhaft wurde. Um überzeugend zu sein, hätte man das mit mehr als drei Generationen dieser Familie, von denen bis auf zwei Frauen alle weg wollen, und am besten auch mehr als zwei toten Frauen belegen müssen.
Andererseits finde ich es sehr wertvoll, wie die Idee der fehlenden Solidarität unter den Frauen, das gegenseitige Misstrauen, und der ewige Wettkampf beschrieben werden.
Gewünscht hätte ich mir, dass die Geschichte des Anwesens und die Rolle der Familie in zweiten Weltkrieg, auf die immer wieder angespielt wurde, weiter verfolgt worden wäre. Immerhin ist dies auch eines der Dinge, die Luise vorenthalten werden. Es ergibt absolut Sinn, dass das so ist - doch im Rahmen des kathartischen Endes wäre eine Auflösung mMn angebracht.
Trotz allem habe ich das Buch gerne gelesen, denn die Familienverhältnisse waren wirklich schön konstruiert und so komplex, das ich bis zum Ende nicht weiß, für wen ich am meisten Mitgefühl habe.
Die Geschichte wird in kurzen Kapiteln auf zwei Ebenen erzählt: zum Einen, die Beerdigung der Großmutter, die den Rahmen für das Buch bildet; zum Anderen, kurze Rückblicke sowohl auf die Kindheit der Protagonistin Luise als auch auf die nahe Vergangenheit. Dies ist grundsätzlich ein gut gelungenes Konstrukt. Da die Ebene der Beerdigung die ganze Zeit spannend bleibt, und die einzelnen Szenen der zweiten Ebene inhaltlich mehr oder weniger abgeschlossen sind, hat man als Leserin nicht das Gefühl, man würde lieber auf der einen oder anderen Ebene verbleiben.
Gleichzeitig ist es an vielen Stellen eher plump in seinen Übergängen/Einleitungen neuer Kapitel sowies auch in Verweisen auf andere Stellen im Text. Ein wenig Subtililät hätte hier gut getan, die Leserin ist ja nicht blöd. (Andere Rezensionen schreiben, das Buch betreibe zu viel "show" und zu wenig "tell". Während es richtig ist, dass viele Dinge nur vage angedeutet werden, sind mir tatsächlich einige Stellen negativ aufgefallen, an denen bestimmte Dinge doch einfach sehr plump gesagt werden, anstatt die Leserin selbst drauf kommen zu lassen.)
Auch das Ende fällt eher flach, stand doch die Option gegen die sich Luise entscheidet nie ernsthaft im Raum. Und das, wofür sich Luise entscheidet, bleibt vage und fast unverständlich -
Ein weiteres Problem ist das Anwesen. Es wird in diesem Buch häufig personifiziert und ihm wird eine Anziehungskraft zugeschrieben, die mir nicht glaubhaft wurde. Um überzeugend zu sein, hätte man das mit mehr als drei Generationen dieser Familie, von denen bis auf zwei Frauen alle weg wollen, und am besten auch mehr als zwei toten Frauen belegen müssen.
Andererseits finde ich es sehr wertvoll, wie die Idee der fehlenden Solidarität unter den Frauen, das gegenseitige Misstrauen, und der ewige Wettkampf beschrieben werden.
Gewünscht hätte ich mir, dass die Geschichte des Anwesens und die Rolle der Familie in zweiten Weltkrieg, auf die immer wieder angespielt wurde, weiter verfolgt worden wäre. Immerhin ist dies auch eines der Dinge, die Luise vorenthalten werden. Es ergibt absolut Sinn, dass das so ist - doch im Rahmen des kathartischen Endes wäre eine Auflösung mMn angebracht.
Trotz allem habe ich das Buch gerne gelesen, denn die Familienverhältnisse waren wirklich schön konstruiert und so komplex, das ich bis zum Ende nicht weiß, für wen ich am meisten Mitgefühl habe.
Content Warnings
Graphic: Emotional abuse, Toxic friendship, and Classism
Moderate: Alcoholism, Death, and Grief
Minor: Sexual violence