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584 reviews
The Bruising of Qilwa by Naseem Jamnia
hopeful
informative
mysterious
reflective
slow-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
3.0
A thoughtful and detailed political landscape playing host to lovely characters with tragic yet believable flaws.
I especially enjoyed that the queernorm elements of the setting were different depending on the culture - not only nice but worldbuilding too! Kofi knowingly nicknaming Firuz they-Firuz after the Dilmuni style of introduction that was foreign to him was such a dad joke that it instantly established his character and the relationship he would take with Firuz. The differences in gender healthcare between their home and Qilwa provoke a whole subplot with their transitioning brother. Jamnia leverages their worldbuilding very elegantly to add depth.
Blood magic is described with a cool level of detail too. I was not surprised to learn Jamnia is a neuroscientist. The chair they use in training reminded me of the Guardian's techniques in NK Jemisin's Broken Earth trilogy and brought all the same agonising over whether it can be justified again. I would have liked the magical mechanics we were taught throughout the book to have played a bigger role in the final confrontation, however. The technical aspects of that confrontation seemed to go so far beyond what we had learned that they felt a bit deus-ex-machina'ed to me. I also couldn't help wishing Firuz could havetried Kofi's ideas, via a less murderous methodology. He was groping at a beautiful combination of their practices, only for the story to relax into the playing God/man-gone-too-far trope that felt oddly anti-intellectual for such an intelligent protagonist. But perhaps I'm being naïve .
Despite the cruelties in the setting, this book felt very safe and kind thanks to its main character. They spend most of the narrative working themselves to the bone for their community. It is nice, but I was most interested in them in the moments they were questioning their assumptions about blood magic, their training, and their culture's complicated history. Afsoneh, on the other hand, kept me guessing whether she would be able to control herself or become a real problem. I might have found the story more engaging from her perspective but I don't at all regret listening to this version.
I especially enjoyed that the queernorm elements of the setting were different depending on the culture - not only nice but worldbuilding too! Kofi knowingly nicknaming Firuz they-Firuz after the Dilmuni style of introduction that was foreign to him was such a dad joke that it instantly established his character and the relationship he would take with Firuz. The differences in gender healthcare between their home and Qilwa provoke a whole subplot with their transitioning brother. Jamnia leverages their worldbuilding very elegantly to add depth.
Blood magic is described with a cool level of detail too. I was not surprised to learn Jamnia is a neuroscientist. The chair they use in training reminded me of the Guardian's techniques in NK Jemisin's Broken Earth trilogy and brought all the same agonising over whether it can be justified again. I would have liked the magical mechanics we were taught throughout the book to have played a bigger role in the final confrontation, however. The technical aspects of that confrontation seemed to go so far beyond what we had learned that they felt a bit deus-ex-machina'ed to me. I also couldn't help wishing Firuz could have
Despite the cruelties in the setting, this book felt very safe and kind thanks to its main character. They spend most of the narrative working themselves to the bone for their community. It is nice, but I was most interested in them in the moments they were questioning their assumptions about blood magic, their training, and their culture's complicated history. Afsoneh, on the other hand, kept me guessing whether she would be able to control herself or become a real problem. I might have found the story more engaging from her perspective but I don't at all regret listening to this version.
Content Warnings
Graphic: Body horror
Moderate: Transphobia
A Court of Thorns and Roses by Sarah J. Maas
relaxing
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? No
3.0
Good escapist fantasy. The amount of waiting around in ignorance gets old but the last act pumps the stakes right up and we get to see the protagonist seize the reigns for a finale with some kick.
The fairy men (sorry, males...) are very pretty and protective and sometimes even funny. The High Fae are a little too close to rich, noble humans for my taste but they get a few cool moments of otherworldliness. It's usually the 'lesser fae' who get those fairytale-style esoteric rules and abilities that are so interesting though; High Fae abilities operate more like superpowers.
While most of the book sits comfortably in the formulaic wish-fulfilment zone (not necessarily a bad thing), there are two things that elevate it. First, the callous stepsister-type character, Nesta, is treated to some nuance that prevents her from just being one more abuser in Feyre's tragic backstory. Second, I've never read a romance thatswitches love interests in the last act! It's like the author realised Tamlin is boring but instead of editing in a personality just introduced a hotter, edgier version . The result is an interruption to the formula that has something to say about how the right person for you in one phase of life may not be the right person forever . This is what rescues it from a worse than average rating for the insanely detailed and stupid deals the main villain makes.
Finally, if Lucien has no fans, I am dead. My boy gottreated like a chew toy in the last act and for WHAT. He wasn't even following a cool, secret plan like Rhysand, just loyalty and desperation . And he didn't demand a permanent body mod, lapdance, or soul bond like someone for his help either.
The fairy men (sorry, males...) are very pretty and protective and sometimes even funny. The High Fae are a little too close to rich, noble humans for my taste but they get a few cool moments of otherworldliness. It's usually the 'lesser fae' who get those fairytale-style esoteric rules and abilities that are so interesting though; High Fae abilities operate more like superpowers.
While most of the book sits comfortably in the formulaic wish-fulfilment zone (not necessarily a bad thing), there are two things that elevate it. First, the callous stepsister-type character, Nesta, is treated to some nuance that prevents her from just being one more abuser in Feyre's tragic backstory. Second, I've never read a romance that
Finally, if Lucien has no fans, I am dead. My boy got
Content Warnings
Graphic: Sexual harassment
Moderate: Child abuse and Rape
The Blade Itself by Joe Abercrombie
adventurous
dark
emotional
funny
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.0
This book is funny! Not (often) slapstick or anything but the humourous tone had me questioning its frequent filing under 'grimdark'. Abercrombie does commit to being more realistic about things than your average blockbuster but consistent depressing results quickly become just as predictable as a hero snatching victory from the jaws of defeat and this novel was anything but predictable! Abercrombie has an inspiring habit to resolve his character's tests with neither simply triumph nor defeat but a secret third thing; a triumph or defeat with a twist that acknowledges, then elevates the tension that brought the character to that initial test.
In terms of the larger plot, I could have used a little more predictability. Only Jezel had a clear climax to his narrative in the Contest (which was built to with a very effective subtlety, even in the others' POVs). Glokta benefits from the mystery plot inherent to an inquisitor and Ferro is handfed her goals but Logen is truly just along for the ride. At one point, he even turns down an offer to learn the goals of the people he's helping - a telling character choice, but less so for establishing stakes and something to look forward to. The strength of his characterisation mitigates this but in a book that is almost 600 pages, it cannot do so entirely. I have read that the entire book is setup and, while its vibrant characters do a good job concealing that, I do agree.
And those characters really are vibrant. Prior to reading The Blade Itself, I wouldn't have believed you could make me kick my feet and giggle over a torturer but Glokta is startlingly likeable. He even lampshades it a little, saying something to the effect of 'the worse the man, the sadder his story must be', but his humour, intelligence, and doggedness also play a huge role. Being surrounded by idiots who are either cruel or vapid helps. He is admirable for his perseverance and intelligence, but realistically hampered when he runs into more skilled players. I applaud how Abercrombie is not only unafraid to let him fail but also able to glue his dignity back together after.
Glokta aside, Ardee is a delight, Logen is clever and dependable (though it does feel like we are meeting him at the end of his redemption arc), and I even like Jezel. (Can't defend that one, he's just exactly the kind of character that I find so entertaining to write). Like Glokta, they enjoy nuance: Ardee is confident but her judgement runs questionable, Logen is dependable but still frightened in combat and there is a limit to his sense of responsibility, Ferro is half-feral, and Jezal has moments of genuine bravery and earnest feeling. Abercrombie's talent for characterisation extends to his secondary and even tertiary characters too; there is a masterclass paragraph wherein Glokta meets the faculty of a university and, with only a single clause of description per character, they leap to life not only visually but as people with their own interior lives and faults.
The scenery gets similar treatment. I can't in good conscience call the prose efficient, what with all the endless list of details, emotions, quick actions. (And no final 'and in sight.) However, I have such strong impressions of the North and the city of Ardua that I feel like I could pick them out of a travel brochure. He avoids White Room Syndrome by striking a balance between a character's interior voice and what they note about their surroundings. Again, he goes overboard on the clause lists at times, but for the most part he is able to pick out just enough details to give, or remind, us of what atmosphere they are currently ruining their lives in.
In terms of the larger plot, I could have used a little more predictability. Only Jezel had a clear climax to his narrative in the Contest (which was built to with a very effective subtlety, even in the others' POVs). Glokta benefits from the mystery plot inherent to an inquisitor and Ferro is handfed her goals but Logen is truly just along for the ride. At one point, he even turns down an offer to learn the goals of the people he's helping - a telling character choice, but less so for establishing stakes and something to look forward to. The strength of his characterisation mitigates this but in a book that is almost 600 pages, it cannot do so entirely. I have read that the entire book is setup and, while its vibrant characters do a good job concealing that, I do agree.
And those characters really are vibrant. Prior to reading The Blade Itself, I wouldn't have believed you could make me kick my feet and giggle over a torturer but Glokta is startlingly likeable. He even lampshades it a little, saying something to the effect of 'the worse the man, the sadder his story must be', but his humour, intelligence, and doggedness also play a huge role. Being surrounded by idiots who are either cruel or vapid helps. He is admirable for his perseverance and intelligence, but realistically hampered when he runs into more skilled players. I applaud how Abercrombie is not only unafraid to let him fail but also able to glue his dignity back together after.
Glokta aside, Ardee is a delight, Logen is clever and dependable (though it does feel like we are meeting him at the end of his redemption arc), and I even like Jezel. (Can't defend that one, he's just exactly the kind of character that I find so entertaining to write). Like Glokta, they enjoy nuance: Ardee is confident but her judgement runs questionable, Logen is dependable but still frightened in combat and there is a limit to his sense of responsibility, Ferro is half-feral, and Jezal has moments of genuine bravery and earnest feeling. Abercrombie's talent for characterisation extends to his secondary and even tertiary characters too; there is a masterclass paragraph wherein Glokta meets the faculty of a university and, with only a single clause of description per character, they leap to life not only visually but as people with their own interior lives and faults.
The scenery gets similar treatment. I can't in good conscience call the prose efficient, what with all the endless list of details, emotions, quick actions. (And no final 'and in sight.) However, I have such strong impressions of the North and the city of Ardua that I feel like I could pick them out of a travel brochure. He avoids White Room Syndrome by striking a balance between a character's interior voice and what they note about their surroundings. Again, he goes overboard on the clause lists at times, but for the most part he is able to pick out just enough details to give, or remind, us of what atmosphere they are currently ruining their lives in.
Translations From The Night: Selected Poems Of Jean Joseph Rabearivelo by Jean-Joseph Rabearivelo
challenging
inspiring
mysterious
reflective
fast-paced
- Plot- or character-driven? N/A
- Strong character development? N/A
- Loveable characters? N/A
- Diverse cast of characters? N/A
- Flaws of characters a main focus? N/A
4.0
Don't need to be a poetry expert to get snatched up in the unpretentious beauty of these poems. There's good variety but my favourites, 4 & 21, felt like those nights in the country that are lush and full of life and just unnerving enough to keep you humble.
Taaqtumi: An Anthology of Arctic Horror Stories by Aviaq Johnston, Sean Qitsualik-Tinsley, Gayle Kabloona, Repo Kempt, Cara Bryant, Thomas Anguti Johnston, Jay Bulckaert, Richard Van Camp, K.C. Carthew, Rachel Qitsualik-Tinsley, Ann R. Loverock
dark
informative
tense
medium-paced
- Plot- or character-driven? Plot
- Strong character development? N/A
- Loveable characters? N/A
- Diverse cast of characters? Yes
- Flaws of characters a main focus? N/A
A treat to get a taste of scary stories from authors with more arctic experience than most. It is interesting to see what role this cold landscape plays in each stories, from hunter to saviour to judge, jury & executioner.
In terms of straight horror, I most enjoyed the first short story, Iqsinaqtutalik Piqtuq: The Haunted Blizzard. Of the post-apocalyptic horror stories, Wheetago War II: Summoners was most compelling to me, with its hints at humanity's last bastions, a terrifying varieties of monsters, and the spiritual implications of a world that allows them to roam free. Finally, I'd like to shout out Sila for a simple, short, believable tragedy that will stay with me for a while.
Very grateful for the pronunciation guide in the back as well! This collection left me wanting more arctic horror from Inuit authors. I've enjoyed icy horror from non-indigenous authors (typically from the point of view of a scientist visiting the arctic) but the way these stories and Moon of the Crusted Snow (set in a still-cold-but-not-arctic Northern Canadian Anishinaabe community) incorporate the trappings of day-to-day cold-weather life make the supernatural elements feel so much more real and threatening.
In terms of straight horror, I most enjoyed the first short story, Iqsinaqtutalik Piqtuq: The Haunted Blizzard. Of the post-apocalyptic horror stories, Wheetago War II: Summoners was most compelling to me, with its hints at humanity's last bastions, a terrifying varieties of monsters, and the spiritual implications of a world that allows them to roam free. Finally, I'd like to shout out Sila for a simple, short, believable tragedy that will stay with me for a while.
Very grateful for the pronunciation guide in the back as well! This collection left me wanting more arctic horror from Inuit authors. I've enjoyed icy horror from non-indigenous authors (typically from the point of view of a scientist visiting the arctic) but the way these stories and Moon of the Crusted Snow (set in a still-cold-but-not-arctic Northern Canadian Anishinaabe community) incorporate the trappings of day-to-day cold-weather life make the supernatural elements feel so much more real and threatening.
Fourth Wing by Rebecca Yarros
adventurous
lighthearted
relaxing
medium-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
2.5
Everything in this novel is engineered to create or satisfy romantic/sexual tension between the two leads. On that, it delivers with an indulgence few dare outside of fanfiction. Everything else is either an eye roll or downright laughable, but also mostly entertaining because of that.
Things that strain the patience:
Things that strain the patience:
- Why Violet's status as a General's daughter makes her a special target for MURDER in the academy. Personally, if my classmate's parent had the third highest military position in the country, I would not want to them to even know my name, let alone as her daughter's killer. The guy who wants Violet dead most doesn't even have a political revenge motive, he's just a professional hater.
- Violet scorning Dain for coddling her while allowing Xaden to, and the narrative trying to gaslight us into believing he isn't.
- One too many protagonist traits for Violet: her hair is half silver (sure, if the universe is going to saddle her with fantasy Ehlers-Danlos, at least bundle in a cool aesthetic); she's this nation's equivalent to nobility (ok, at least that won't be the big twist later); she's extremely smart and loves books (no author can resist giving these traits); all the hot boys like her (it is romantasy); she's the first ever to bond
TWO dragons, one of whom is the off-limits giant one (nice, she's finally getting her dues), her power turns out to bestopping time (OP AF), herOTHER power is a lightning insta-kill so strong no-one in living memory has ever seen it (does the army even need anyone else??). Continuing to bully/baby her at this point is downright unhinged but that doesn't stop! - Copious, copious lusting. I signed on for a lot but have mercy.
- The telepathy scales from psychic WhatsApp to a Vulcan mindmeld depending purely on whether it would be more dramatic for them to be intruding on each other or hiding things and barely impacts the story.
- Rhiannon and Ridoc need more than one personality trait each. Every time we see them, one has to say something like 'sleep with that hot girl yet?' to the other in order to assure us that they have lives but I would much rather see those lives weaved into the plot. Liam has more nuance and he only comes in halfway.
- The dialogue bounces between clever twitter burn and fanfic declaration. The novel would feel noticeably more mature with every third 'fucking' deleted and the characters would sound more natural with fewer clearly-set-up witty retorts.
The Way of Kings by Brandon Sanderson
Neither criticism nor praise, but an observation: religion and faith plays a large part in this book. Not the easily-dismissible fantasy religion either; these people are not worshipping Marvo the Maker or Trill the Trickster, they call their god the Almighty. There is a historic war where the fantasy Catholics tried to seize control and were beaten so bad priests are now forbidden from owning anything. Two of the POV characters are explicitly religious, with the third being drawn to it here and then. What's more, it's not simple uninterrogated faith, which would be easy to call unfashionable and dismiss. There is at least one very likeable atheist character and the faithful POV characters question their faith in intelligent ways. There is debate where both sides seem to score points that sound very much like you would hear from good-faith modern debate. I will be very interested to see the religious status of our heroes at the end of the series.
Finally, I want to shout out the little scientific sketches included opposite each of the chapter titles. Great visual aid, cute, intriguing, lent a sense of realism. Love them.
Finally, finally, I need to commend this book for something I have honestly never encountered in epic fantasy before: ending a dramatic confrontation with "also, I'm fucking your mom. bye".
adventurous
emotional
funny
inspiring
mysterious
slow-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? No
4.0
This is what epic fantasy for today's general audiences is all about. It keeps the vast, lived-in world, the (new!) magical races, and the brick-like length of classic fantasy but also weaves in complex politics and a certain gentleness toward its heroes that reflects modern tastes.
With Sanderson's immense popularity comes criticism. Most common, that his prose is simplistic, that his 'hard' magic lacks magic, and that there is too much hand-holding with plot implications. I'll address them one at a time:
First, this is not a flowery book. There were a few fun verb choices and the dialogue can be snappy but it also strays into cheesy on occasion and I was never moved to reread or dwell on a description. However, far worse than being simple is the sin of getting in the way. Sanderson's 'windowpane' prose, as he himself calls it, may not delight but you always understand what is happening - often with cool, clear visuals too. Also, simple style does not equal simple substance. There is one betrayal in particular that disappointed me at first for seeming to flatten the betrayer, only to reveal a much more layered motivation than greed. The only place this lack of memorability hurts the book is in the few mottos and snippets of wisdom passed down to our heroes which have that motivational poster feel. Not bad, just bland. It is a very accessible book.
Second, Sanderson's matter-of-fact approach to magic does cost him in mystique and wonder but it buys an impressive amount of verisimilitude and the ability to present a magical situation and give his little nerd readers the joy of deducing what's about to happen. When a surgeon's apprentice explains that clean water washes away rot 'spren', we accept it (and, by extension, the larger concept of these spirits) thanks to real-world knowledge of germs. When a warrior fuelled by stormlight leaps into a group of enemies who use it for jewelry, we know shit is about to go down. It is odd how little cohesion there is between spren, shardblades, lashings, old magic, etc. (especially since Sanderson advices going deep on one type of magic before adding more) but I wouldn't put it past him to reveal some unifying feature down the line. He does also attempt to revive the sense of mystery via characters researching magic but that feels so much less grounded in contrast that it's difficult to care about beyond plot implications.
Third, I personally never felt robbed of putting two and two together by being screamed at that the answer was four. Sanderson is not shy about confirming your predictions once they are revealed, but I still had fun getting to the answers ahead of a few characters (though not so far ahead as to be annoying, which is also a skill). Now, I wouldn't complain if characters were more subtle in their internal dialogue but it's not a deal-breaker. (I do need them to stop all saying Stormfather, but x is y, however.)
With the popular criticisms out of the way, I can now level my own:
With Sanderson's immense popularity comes criticism. Most common, that his prose is simplistic, that his 'hard' magic lacks magic, and that there is too much hand-holding with plot implications. I'll address them one at a time:
First, this is not a flowery book. There were a few fun verb choices and the dialogue can be snappy but it also strays into cheesy on occasion and I was never moved to reread or dwell on a description. However, far worse than being simple is the sin of getting in the way. Sanderson's 'windowpane' prose, as he himself calls it, may not delight but you always understand what is happening - often with cool, clear visuals too. Also, simple style does not equal simple substance. There is one betrayal in particular that disappointed me at first for seeming to flatten the betrayer, only to reveal a much more layered motivation than greed. The only place this lack of memorability hurts the book is in the few mottos and snippets of wisdom passed down to our heroes which have that motivational poster feel. Not bad, just bland. It is a very accessible book.
Second, Sanderson's matter-of-fact approach to magic does cost him in mystique and wonder but it buys an impressive amount of verisimilitude and the ability to present a magical situation and give his little nerd readers the joy of deducing what's about to happen. When a surgeon's apprentice explains that clean water washes away rot 'spren', we accept it (and, by extension, the larger concept of these spirits) thanks to real-world knowledge of germs. When a warrior fuelled by stormlight leaps into a group of enemies who use it for jewelry, we know shit is about to go down. It is odd how little cohesion there is between spren, shardblades, lashings, old magic, etc. (especially since Sanderson advices going deep on one type of magic before adding more) but I wouldn't put it past him to reveal some unifying feature down the line. He does also attempt to revive the sense of mystery via characters researching magic but that feels so much less grounded in contrast that it's difficult to care about beyond plot implications.
Third, I personally never felt robbed of putting two and two together by being screamed at that the answer was four. Sanderson is not shy about confirming your predictions once they are revealed, but I still had fun getting to the answers ahead of a few characters (though not so far ahead as to be annoying, which is also a skill). Now, I wouldn't complain if characters were more subtle in their internal dialogue but it's not a deal-breaker. (I do need them to stop all saying Stormfather, but x is y, however.)
With the popular criticisms out of the way, I can now level my own:
- Too long! This is actually a fairly popular criticism but it is correct. Kaladin's storyline of building up Bridge Four is the only one that justified that chipping-away-at-rock feeling so many chapters bring. Dalinar's in particular was extremely back-loaded in terms of fun plot advancement. You need some time to build up a world like Roshar but if the entire LotR trilogy is only 100,000 words more than this first book (~380,000 words), we have room to strive for more efficiency at least.
- I don't care about the apocalypse-level events, either past or future, and I'm concerned that it will dwarf all the smaller-scale character work built up over so many pages. Big Bads have a flattening effect on nuance. I'm not hopeless in this regard, due to a twists about Voidbringers which suggests future moral nuance, but I am wary.
- Wit/Hoid has DMPC written all over him. Enough of his jokes and affect are landing for me so far that I like him but he's on thin ice.
Neither criticism nor praise, but an observation: religion and faith plays a large part in this book. Not the easily-dismissible fantasy religion either; these people are not worshipping Marvo the Maker or Trill the Trickster, they call their god the Almighty. There is a historic war where the fantasy Catholics tried to seize control and were beaten so bad priests are now forbidden from owning anything. Two of the POV characters are explicitly religious, with the third being drawn to it here and then. What's more, it's not simple uninterrogated faith, which would be easy to call unfashionable and dismiss. There is at least one very likeable atheist character and the faithful POV characters question their faith in intelligent ways. There is debate where both sides seem to score points that sound very much like you would hear from good-faith modern debate. I will be very interested to see the religious status of our heroes at the end of the series.
Finally, I want to shout out the little scientific sketches included opposite each of the chapter titles. Great visual aid, cute, intriguing, lent a sense of realism. Love them.
Finally, finally, I need to commend this book for something I have honestly never encountered in epic fantasy before: ending a dramatic confrontation with "also, I'm fucking your mom. bye".
Content Warnings
Moderate: Racism and Slavery
The racism is mostly fantasy racism but these fantasy races do have some features in common with real-world races. For example, the 'Shin' are described as looking wide-eyed and childlike due to their short stature and monolids, but their names and practices do not resemble any real-world culture. The enslaved race's skin is mixed black and red (though they are not the only dark-skinned race). The POV characters belong to a race with medium-brown skin but which also has light eyes. There seems to have been an effort to avoid one-to-one real-world parallels.
Shards of Honour by Lois McMaster Bujold
adventurous
emotional
hopeful
relaxing
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? No
4.0
Romance for adults. How have I never read a romance about two people finding love late in life before? And it's sci-fi! The stakes are high, the tech is creative (hello, artificial wombs with babies floating around that need looking after), and the cultures feel real enough to facilitate the conflict of ideals between leads. The politics also come across clever without taking up so much space as to be boring.
What glows about this book is how it is so enjoyable despite featuring two mature, intelligent, measured characters. After a bit of a tumultuous forced-proximity start, it turns out they are both as reasonable and generous as two people on opposite sides of an armed conflict can be. It's not a will-they-won't-they, it's a will-the-world-let-them-won't-it. There are moments of high drama, but also moments of day-to-day life. It makes the usual formula of pining and misunderstandings feel juvenile. Despite being set in the stars, this couple feels like they could be your aunt and uncle. Aspirational in a very comforting way.
What glows about this book is how it is so enjoyable despite featuring two mature, intelligent, measured characters. After a bit of a tumultuous forced-proximity start, it turns out they are both as reasonable and generous as two people on opposite sides of an armed conflict can be. It's not a will-they-won't-they, it's a will-the-world-let-them-won't-it. There are moments of high drama, but also moments of day-to-day life. It makes the usual formula of pining and misunderstandings feel juvenile. Despite being set in the stars, this couple feels like they could be your aunt and uncle. Aspirational in a very comforting way.
Content Warnings
Graphic: War and Sexual assault
Moderate: Abortion
Psyche and Eros by Luna McNamara
hopeful
relaxing
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
2.5
As a love story between a god and a mortal in ancient times or a feminist retelling, it is soothing and well-written but as an adaptation of the myth of Psyche & Eros, it is lacking in complexity. Even the basic conflict of their love being compelled by arrows is sidestepped.
Psyche, especially, is unrecognisable from her mythological counterpart. Although her confidence, stubbornness and battle prowess are admirable, I am more interested in the untrained Psyche who still takes a dagger in with the lamp to see her unknown lover, whom Aphrodite's tasks drive to the brink of suicide, and who opens the box of divine beauty not because she trips, but because she hopes Eros will forgive her if she can just be pretty enough. McNamara's Psyche is a good role model, she is strong and she apologises for her mistakes, but she feels more like a hero's tale than a real woman. Work is still needed to turn the mythological Psyche into a relatable woman, but I was hoping to see that instead of a new character.
I enjoyed the tidbits of ancient day to day life and the characteristics of the various gods, as well as their curses and infighting. The writing style is also fitting for gods of love, though it contains a few too many adjectives for my personal taste. My issue with this book is not in its execution but in the way its idea flattens the myth into a romance that plays too safely to modern tastes.
Joshua Riley was a wonderful pick to narrate the Eros chapters in the audiobook, however.
Psyche, especially, is unrecognisable from her mythological counterpart. Although her confidence, stubbornness and battle prowess are admirable, I am more interested in the untrained Psyche who still takes a dagger in with the lamp to see her unknown lover, whom Aphrodite's tasks drive to the brink of suicide, and who opens the box of divine beauty not because she trips, but because she hopes Eros will forgive her if she can just be pretty enough. McNamara's Psyche is a good role model, she is strong and she apologises for her mistakes, but she feels more like a hero's tale than a real woman. Work is still needed to turn the mythological Psyche into a relatable woman, but I was hoping to see that instead of a new character.
I enjoyed the tidbits of ancient day to day life and the characteristics of the various gods, as well as their curses and infighting. The writing style is also fitting for gods of love, though it contains a few too many adjectives for my personal taste. My issue with this book is not in its execution but in the way its idea flattens the myth into a romance that plays too safely to modern tastes.
Joshua Riley was a wonderful pick to narrate the Eros chapters in the audiobook, however.
For the Hell of It by Cate Corvin
lighthearted
medium-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? No
2.5
Does what you'd expect from the cover/blurb with a few bonuses: Corvin builds some of Hell out for her characters to saunter through, but not more than is needed for this kind of story. The portrayal of Satan was relatively intimidating. Lucifer (separate character) occasionally hits on a bit of the fathomless-mourning-yet-not-regret vibes which make fallen angels so compelling. The monster-woman built up as the final obstacle for the main character has a cool design when she finally comes into play (would have made a more interesting main character perhaps).
Drawbacks: Many makeover scenes, many arena battles. I skipped both. Some of the dialogue is too Buffy for something written in 2020. The main character is perfect and blameless and oh so small (this will be another bonus for some). All other women are either enemies to defeat in battle, bitches, or the one makeover friend. I also thought it would be queerer (missed opportunity imo) but that's down to personal preference.
Drawbacks: Many makeover scenes, many arena battles. I skipped both. Some of the dialogue is too Buffy for something written in 2020. The main character is perfect and blameless and oh so small (this will be another bonus for some). All other women are either enemies to defeat in battle, bitches, or the one makeover friend. I also thought it would be queerer (missed opportunity imo) but that's down to personal preference.
Content Warnings
Graphic: Sexual content and Sexual harassment
Minor: Sexual assault