Scan barcode
zwiame's reviews
67 reviews
The Night Circus by Erin Morgenstern
inspiring
mysterious
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? No
2.75
God I feel so bad for this rating. I wanted to love this so so so badly, after the way I absolutely fell in love with The Starless Sea, Morgenstern's second book.
Before I delve into what bothered me in the book, let's rapidly discuss the things that WERE done right (and that therefore justify the barely passing rating I gave this book).
The writing is this book's main quality. It isn't particularly complicated or overly adorned, but there's just something in Morgenstern's word choices, and in the way she describes mundane things, that appeals to your younger self and soothes you. Honestly, reading anything written by her is a pleasure.
The subject matter of the book is the other major thing I loved : the circus and the magic surrounding it, and generally speaking the whimsical world the author plunges us into, were lovely to explore.
Finally, the cast of characters was interesting enough, I could've really grown attached to them, but I didn't (for reasons I will explain in the second part of this review).
Unfortunately, this book had too many downsides to ignore.
The main one, for me, was the fact that it was nearly impossible to CARE. The emotional component of the book, though everpresent thematically, was never actually ellicited in me. I knew I should be emotional at times, yet the characters were so impossibly distant that I could barely be bothered to care (and I am a very emotional reader, so that says a lot). This was especially the case regarding the two main characters and their romance: Celia, and especially Marco, are barely known to us... I could not give you one personality trait of Marco's (and neither could Celia, if we're being honest: they barely know each other, and yet we're supposed to believe in their romance???). Same goes for Poppet and Bailey, though we do know more about Bailey, I must admit. Can't believe the author of The Starless Sea missed this badly on the characterisation part... Beyond disappointing. This is especially a pity because of the potential of many characters, like Tsukiko, Mr A.H, Hector Bowen, Thiessen, etc.
Secondly, I understand this book relies on vibes only (and I don't mind these types of slow-paced, uneventful books), but this book almost lacked a story. For something that relies on a magical competition between two people bound by fate, this book focused almost barely on the circus, and more on random shit happening around. I wouldn't have minded this if it was well done, and gave us a broader picture of the circus to better immerse us into the story, but it did the exact opposite: it diluted the main plotline, yet left us wanting from the adjacent plotlines, so that I felt cheated by the end of the book, unsatisfied regarding all the stories and not involved in any character's future.
This two critiques being related to core, essential elements of fiction (characterisation and story-telling), I can't possibly say I woud recommend this book to anyone.
I do, however, recognise the soothing quality that this book can have, and the wonderful writing capabilities Morgenstern has, and I wouldn't be opposed to reading a book by her in the future, seeing how The Starless Sea struck (and stuck with) me.
On a different note, I feel like writers whose prose is stellar (like Erin Morgenstern and Madeline Miller) only find their footing in terms of story-telling as a whole in their sophomore work, i.e. The Starless Sea and Circe (or maybe it's just a personal preference). Either way, if this theory works for me, I'm excited to read Ocean Vuong's second novel, because the first certainly disappointed me (though the writing was excellent).
Before I delve into what bothered me in the book, let's rapidly discuss the things that WERE done right (and that therefore justify the barely passing rating I gave this book).
The writing is this book's main quality. It isn't particularly complicated or overly adorned, but there's just something in Morgenstern's word choices, and in the way she describes mundane things, that appeals to your younger self and soothes you. Honestly, reading anything written by her is a pleasure.
The subject matter of the book is the other major thing I loved : the circus and the magic surrounding it, and generally speaking the whimsical world the author plunges us into, were lovely to explore.
Finally, the cast of characters was interesting enough, I could've really grown attached to them, but I didn't (for reasons I will explain in the second part of this review).
Unfortunately, this book had too many downsides to ignore.
The main one, for me, was the fact that it was nearly impossible to CARE. The emotional component of the book, though everpresent thematically, was never actually ellicited in me. I knew I should be emotional at times, yet the characters were so impossibly distant that I could barely be bothered to care (and I am a very emotional reader, so that says a lot). This was especially the case regarding the two main characters and their romance: Celia, and especially Marco, are barely known to us... I could not give you one personality trait of Marco's (and neither could Celia, if we're being honest: they barely know each other, and yet we're supposed to believe in their romance???). Same goes for Poppet and Bailey, though we do know more about Bailey, I must admit. Can't believe the author of The Starless Sea missed this badly on the characterisation part... Beyond disappointing. This is especially a pity because of the potential of many characters, like Tsukiko, Mr A.H, Hector Bowen, Thiessen, etc.
Secondly, I understand this book relies on vibes only (and I don't mind these types of slow-paced, uneventful books), but this book almost lacked a story. For something that relies on a magical competition between two people bound by fate, this book focused almost barely on the circus, and more on random shit happening around. I wouldn't have minded this if it was well done, and gave us a broader picture of the circus to better immerse us into the story, but it did the exact opposite: it diluted the main plotline, yet left us wanting from the adjacent plotlines, so that I felt cheated by the end of the book, unsatisfied regarding all the stories and not involved in any character's future.
This two critiques being related to core, essential elements of fiction (characterisation and story-telling), I can't possibly say I woud recommend this book to anyone.
I do, however, recognise the soothing quality that this book can have, and the wonderful writing capabilities Morgenstern has, and I wouldn't be opposed to reading a book by her in the future, seeing how The Starless Sea struck (and stuck with) me.
On a different note, I feel like writers whose prose is stellar (like Erin Morgenstern and Madeline Miller) only find their footing in terms of story-telling as a whole in their sophomore work, i.e. The Starless Sea and Circe (or maybe it's just a personal preference). Either way, if this theory works for me, I'm excited to read Ocean Vuong's second novel, because the first certainly disappointed me (though the writing was excellent).
On Earth We're Briefly Gorgeous by Ocean Vuong
challenging
dark
emotional
reflective
sad
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
3.0
So... To sum up my experience with this book, I would say Vuong is a much better writer than he is a storyteller.
I know this novel is partially inspired by his life, and therefore doesn't give much room for invention and innovation, but I think it could've been crafted in a more personal way. What I mean is I haven't formed an attachement to any of the characters, nor have I felt emotional when some of them passed away or had terrible situations thrown at them. The story is crafted almost as if to impress the reader, but doesn't convey the emotion it was meant to, at least for me (and I'm a cry-baby).
I did cry reading this book, but only because of Vuong's stellar prose (and the relatable aspect of some passages), which is this novel's saving grace. Some of his one-liners are simply heartwreching. So many quotes in this book suffice to make my eyes well-up, he truly put every effort in the very craft of writing.
I'm looking forward to reading Vuong's poetry, which I can already tell to be magnificent, but I was definitely disappointed by this novel.
I know this novel is partially inspired by his life, and therefore doesn't give much room for invention and innovation, but I think it could've been crafted in a more personal way. What I mean is I haven't formed an attachement to any of the characters, nor have I felt emotional when some of them passed away or had terrible situations thrown at them. The story is crafted almost as if to impress the reader, but doesn't convey the emotion it was meant to, at least for me (and I'm a cry-baby).
I did cry reading this book, but only because of Vuong's stellar prose (and the relatable aspect of some passages), which is this novel's saving grace. Some of his one-liners are simply heartwreching. So many quotes in this book suffice to make my eyes well-up, he truly put every effort in the very craft of writing.
I'm looking forward to reading Vuong's poetry, which I can already tell to be magnificent, but I was definitely disappointed by this novel.
Crooked Kingdom by Leigh Bardugo
emotional
mysterious
tense
medium-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
4.75
All the praise I gave Six of Crows applies to this book, so I won't bother repeating myself.
The duology is the best thing the YA fantasy genre has ever known. By far.
I, however, have a few qualms with this book that made me knock off 0.25 points, and which I'll quickly explain.
Though the book is very engaging (the proof being that I finished it in two days), the pacing is slightly off. This, for me, is the consequence of a slight dysfunction in the plot, as it doesn't have a single direction/aim, but is rather comprised of multiple big plot points, tied together. This just makes it a bit of a messy/bumpy read, and therefore risks losing the full engagement of the reader (which wasn't the case with SoC as it is fully centered around the Ice Court heist).
Apart from that, this book slayed.
I thank Bardugo for the fluff she gave us throughout the book, and curse her for the ending (which, when I read it for the first time, made me bawl so hard I was gasping for air, and it took me a fucking WEEK to recover. Can you believe...).
Balance, baby!
The duology is the best thing the YA fantasy genre has ever known. By far.
I, however, have a few qualms with this book that made me knock off 0.25 points, and which I'll quickly explain.
Though the book is very engaging (the proof being that I finished it in two days), the pacing is slightly off. This, for me, is the consequence of a slight dysfunction in the plot, as it doesn't have a single direction/aim, but is rather comprised of multiple big plot points, tied together. This just makes it a bit of a messy/bumpy read, and therefore risks losing the full engagement of the reader (which wasn't the case with SoC as it is fully centered around the Ice Court heist).
Apart from that, this book slayed.
I thank Bardugo for the fluff she gave us throughout the book, and curse her for the ending (which, when I read it for the first time, made me bawl so hard I was gasping for air, and it took me a fucking WEEK to recover. Can you believe...).
Balance, baby!
Six of Crows by Leigh Bardugo
adventurous
emotional
mysterious
tense
medium-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
5.0
This is YA fantasy excellence. The best you'll find in this category, no questions asked. This duology (and SoC in particular) is much better than Bardugo's other series (previous and later).
Each character is more interesting and endearing than the last (Jesper is still my favourite, but the others are terribly close). Their budding "found family" relationship is impeccably built, and the group is beautifully diverse.
In regards to the plot, I think it's just perfectly done. Just tense enough that you're stressing for them, yet not so tragic that you wanna unalive yourself (which is key for YA fantasy, as it should be less harsh that adult fantasy imo).
The prose is also remarkable, and you wouldn't expect it from this sort of book, which often relies on its characters/plot rather than the writing itself. I have tabbed and underlined so many of its pages that it's borderline disrespectful to the poor book.
To sum it up, this should be studied as THE perfect example for a YA fantasy book. It did not miss, on any level whatsoever.
One of my favourite books ever <333
Each character is more interesting and endearing than the last (Jesper is still my favourite, but the others are terribly close). Their budding "found family" relationship is impeccably built, and the group is beautifully diverse.
In regards to the plot, I think it's just perfectly done. Just tense enough that you're stressing for them, yet not so tragic that you wanna unalive yourself (which is key for YA fantasy, as it should be less harsh that adult fantasy imo).
The prose is also remarkable, and you wouldn't expect it from this sort of book, which often relies on its characters/plot rather than the writing itself. I have tabbed and underlined so many of its pages that it's borderline disrespectful to the poor book.
To sum it up, this should be studied as THE perfect example for a YA fantasy book. It did not miss, on any level whatsoever.
One of my favourite books ever <333
Circe by Madeline Miller
adventurous
emotional
hopeful
inspiring
reflective
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
5.0
Where to begin? This was a definite surprise for me, seeing how I hadn't been a fan of The song of Achilles at all.
Madeline Miller's prose is as beautiful as ever, this you can't ever fault her for. The way she writes flows like a clear stream, it's simply refreshing and oh so easy to get lost in her writing.
In terms of story and pacing, I found it was simply stellar. I understand how some people may find it too slow, or uneventful, but I just couldn't put it down. Every theme this book explores (women's treatment, power, otherness, loneliness, love, etc.) is just beautifully and profoundly dealt with. To me, it's specifically Miller's portrayal of women and the menial misogyny of the world that strikes hardest. Her depiction of women is so complex, so multi-dimensional and so genuine, I was left awestruck. The way female characters don't always support eachother, but are still affected by misogyny and react to it in many different ways is just refreshing to read.
In terms of side characters, this book has a rather limited cast, but some of them are just amazingly fleshed out, my personal favourite interpretations being Odysseus, Penelope, Daedalus and Helios (Prometheus' cameo was incredible as well). The complexity of each characters, and the way Miller shows them in raw and more genuine fashion than their mythology versions is so satisfying to read. To me, it's the very purpose of a retelling, and she did it brilliantly. This was what changed, I think, from her retelling of Achilles: the characters feel achingly real in this one, in a way they never did in The song of Achilles.
Finally, Circe. The namesake of this book. I have no idea how Miller managed to make such a simple, seemingly ordinary character the heroine of her book, but she sure succeeded! Circe was an amazing narrator to have, and I found myself adoring the first person point of view, when it is normally something I don't particularly enjoy. Her viewpoint of the world is, once again, so real and relatable, so flawed and yet understandable, that you form a bond with her while reading.
It took me a while to decide whether or not to give this five stars. Usually, I reserve this to books that leave me starstuck, that dazzle me and that take me somewhere else.
I didn't feel this way with Circe, specifically because I knew most of her story already.
But Circe, in all its simplicity, left me unable to criticise anything about it, and eager to pick it up and reread it right after having finished it. Therefore, a five star read it is.
Madeline Miller's prose is as beautiful as ever, this you can't ever fault her for. The way she writes flows like a clear stream, it's simply refreshing and oh so easy to get lost in her writing.
In terms of story and pacing, I found it was simply stellar. I understand how some people may find it too slow, or uneventful, but I just couldn't put it down. Every theme this book explores (women's treatment, power, otherness, loneliness, love, etc.) is just beautifully and profoundly dealt with. To me, it's specifically Miller's portrayal of women and the menial misogyny of the world that strikes hardest. Her depiction of women is so complex, so multi-dimensional and so genuine, I was left awestruck. The way female characters don't always support eachother, but are still affected by misogyny and react to it in many different ways is just refreshing to read.
In terms of side characters, this book has a rather limited cast, but some of them are just amazingly fleshed out, my personal favourite interpretations being Odysseus, Penelope, Daedalus and Helios (Prometheus' cameo was incredible as well). The complexity of each characters, and the way Miller shows them in raw and more genuine fashion than their mythology versions is so satisfying to read. To me, it's the very purpose of a retelling, and she did it brilliantly. This was what changed, I think, from her retelling of Achilles: the characters feel achingly real in this one, in a way they never did in The song of Achilles.
Finally, Circe. The namesake of this book. I have no idea how Miller managed to make such a simple, seemingly ordinary character the heroine of her book, but she sure succeeded! Circe was an amazing narrator to have, and I found myself adoring the first person point of view, when it is normally something I don't particularly enjoy. Her viewpoint of the world is, once again, so real and relatable, so flawed and yet understandable, that you form a bond with her while reading.
It took me a while to decide whether or not to give this five stars. Usually, I reserve this to books that leave me starstuck, that dazzle me and that take me somewhere else.
I didn't feel this way with Circe, specifically because I knew most of her story already.
But Circe, in all its simplicity, left me unable to criticise anything about it, and eager to pick it up and reread it right after having finished it. Therefore, a five star read it is.
Cinna by Pierre Corneille
medium-paced
2.25
This play is the exact representation of all the things I hate in Corneille's work.
To keep it short, I just find the way he tackles glory/honour/duty to be really flat (unlike Racine).
The characters are flat, uninteresting, and sometimes illogical (I wanted to support Emilie but she made it hard for me).
The play's namesake, Cinna, is so forgettable and useless that I just can't remember a single notable thing he does... Can't believe the play is actually named after him.
There are two okay characters in this: Maxime, who was much more complex and interesting that Cinna (and a better suitor to Emilie, imo), and obviously, Auguste, who reveals himself to be a remorseful and conflicted ruler, unlike the ruthless descriptions made of him by the other characters.
There are good lessons about what makes a good ruler in here (which is probably what Corneille intended to make, at least in part), but they're treated very superficially. Also there was little to no tension in this play. It's supposed to be a fucking tragedy ffs!!
Overall, do not waste your time on this play. Read his Medea, or even better, read Racine's work!!
To keep it short, I just find the way he tackles glory/honour/duty to be really flat (unlike Racine).
The characters are flat, uninteresting, and sometimes illogical (I wanted to support Emilie but she made it hard for me).
The play's namesake, Cinna, is so forgettable and useless that I just can't remember a single notable thing he does... Can't believe the play is actually named after him.
There are two okay characters in this: Maxime, who was much more complex and interesting that Cinna (and a better suitor to Emilie, imo), and obviously, Auguste, who reveals himself to be a remorseful and conflicted ruler, unlike the ruthless descriptions made of him by the other characters.
There are good lessons about what makes a good ruler in here (which is probably what Corneille intended to make, at least in part), but they're treated very superficially. Also there was little to no tension in this play. It's supposed to be a fucking tragedy ffs!!
Overall, do not waste your time on this play. Read his Medea, or even better, read Racine's work!!
A Storm of Swords: Steel and Snow by George R.R. Martin
adventurous
dark
emotional
mysterious
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
So. This is a complicated book for me to rate. Especially as it's technically only one half of a book.
Let's start with my qualms with it. Mainly, it's Jon's story that I just cannot bear to read. I simply don't fucking care for anything happening to him, barely care about him, and have had enough of their raid north. And yet, he has so many goddamn chapters!
And when it's not him, it's Sam, or even Chett. Please spare me.
I have a similar outlook on Catelyn's chapters, I understand she's there to inform us about Robb, but nothing ever happens to her so I find it hard to be interested in her POV (and she has so many chapters!!!). Also, Robb is definitely a more interesting character in the TV show.
Bran and Davos' chapters are also a bit slower for me to get through (as barely anything happens to them), but it's manageable.
I don't have much to say about Arya, except that her POVs are always interesting. Rarely revolutionary, but never boring because she's either moving around, or interacting with important players while hiding her identity, which gives us great "behind the scenes" info.
I feel the same about Danaerys, love her chapters, and wish there were more.
Sansa and Tyrion are great POVs in this book. The return of Tywin to King's Landing and Tyrion's consequent fall from grace is sooo interesting to see playing out. The Tyrell women's introduction is also one that I was really looking forward to, because of how good players of the game they are. Sansa's emotional roller coaster from fearing death, to joy, to content neutrality, to despair is also so fucking entertaining, though I feel terrible for her. Her trust of the fool (forgot his name) is so painful to witness, and you can tell she's still learning.
Oberyn's appearance at the very end of the book is the cherry on top, because then every resourceful and interesting player of the game is in King's Landing.
Now. Onto my very favourite part of the book, and the reason why it's rated so highly even though 50% of it kinda annoyed me: Jaime's POV. Jaime is my favourite character in this whole fucking series. His wit, his rashness, his humour, his devotion... The budding trust and companionship between Brienne and him I cherish. Every chapter they were in I adored! Can't express my love for them enough.
Especially after Jaime gets his hand chopped off, and really begins his redemption arc, I just can't get enough.
Let's start with my qualms with it. Mainly, it's Jon's story that I just cannot bear to read. I simply don't fucking care for anything happening to him, barely care about him, and have had enough of their raid north. And yet, he has so many goddamn chapters!
And when it's not him, it's Sam, or even Chett. Please spare me.
I have a similar outlook on Catelyn's chapters, I understand she's there to inform us about Robb, but nothing ever happens to her so I find it hard to be interested in her POV (and she has so many chapters!!!). Also, Robb is definitely a more interesting character in the TV show.
Bran and Davos' chapters are also a bit slower for me to get through (as barely anything happens to them), but it's manageable.
I don't have much to say about Arya, except that her POVs are always interesting. Rarely revolutionary, but never boring because she's either moving around, or interacting with important players while hiding her identity, which gives us great "behind the scenes" info.
I feel the same about Danaerys, love her chapters, and wish there were more.
Sansa and Tyrion are great POVs in this book. The return of Tywin to King's Landing and Tyrion's consequent fall from grace is sooo interesting to see playing out. The Tyrell women's introduction is also one that I was really looking forward to, because of how good players of the game they are. Sansa's emotional roller coaster from fearing death, to joy, to content neutrality, to despair is also so fucking entertaining, though I feel terrible for her. Her trust of the fool (forgot his name) is so painful to witness, and you can tell she's still learning.
Oberyn's appearance at the very end of the book is the cherry on top, because then every resourceful and interesting player of the game is in King's Landing.
Now. Onto my very favourite part of the book, and the reason why it's rated so highly even though 50% of it kinda annoyed me: Jaime's POV. Jaime is my favourite character in this whole fucking series. His wit, his rashness, his humour, his devotion... The budding trust and companionship between Brienne and him I cherish. Every chapter they were in I adored! Can't express my love for them enough.
Especially after Jaime gets his hand chopped off, and really begins his redemption arc, I just can't get enough.
The Fixer-Upper Club by Charlipetidei
hopeful
lighthearted
reflective
medium-paced
For non-book records, review text and ratings are hidden. Only mood, pace, and content warnings are visible.
A Clash of Kings by George R.R. Martin
adventurous
dark
emotional
mysterious
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.25
I won't make this very long, especially because the various tomes of aSoIaF are starting to blur into one story in my head.
This second installement is slightly better than the first. The story is more interesting (because each character's arc progresses and we're familiar with the world), we're introduced to the dragons and their influence over magic all over the world, Ned's death causes ripples in the whole of Westeros, and we're introduced to more characters, or at least more personally (Theon, Davos and the Red Woman, etc.).
There are also quite a few action moments in the book (notably, the battle of Blackwater Bay), which are a major reason why everyone loves aSoIaF.
One recurring theme I did adore was how the comet was interpreted differently (and with certitude!) by each group of characters, which is just so witty and amusing.
However, to me, it's still in that build up towards greatness: the most interesting moments and storylines haven't yet arrived, which justifies my rating.
This second installement is slightly better than the first. The story is more interesting (because each character's arc progresses and we're familiar with the world), we're introduced to the dragons and their influence over magic all over the world, Ned's death causes ripples in the whole of Westeros, and we're introduced to more characters, or at least more personally (Theon, Davos and the Red Woman, etc.).
There are also quite a few action moments in the book (notably, the battle of Blackwater Bay), which are a major reason why everyone loves aSoIaF.
One recurring theme I did adore was how the comet was interpreted differently (and with certitude!) by each group of characters, which is just so witty and amusing.
However, to me, it's still in that build up towards greatness: the most interesting moments and storylines haven't yet arrived, which justifies my rating.
Médée by Pierre Corneille
dark
emotional
sad
tense
medium-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.75
I am, and forever will be, a Medea apologist.
I am not usually a Corneille fan (Racine my beloved), because he tends to write plays that are carried by themes of self-righteousness, glory and virtue, but his version of Medea is surprisingly impeccable, in that it shows morally grey, angsty and complex characters.
Along with Cocteau's Machine Infernale and Racine's Andromaque, this is now in my top 3 of french plays.
This play, apart from being terribly well written, depicts female rage better than most modern feminist books/series/movies I've encountered. For a play that was written by a man, and in 17th century France, this is one of the most progressive, feminist works I've read.
Medea is never shown as a victim, nor as fully crazy, unlike what Jason would like everyone to believe. She is portrayed in all her complexity, all her power, all her intelligence AND all her emotional nature as well. The character isn't ever objectively shown to be a monster. On the contrary, Corneille shows how badly she's been treated, how unfair everybody's been to her, and how she has no one left to turn to.
What's outstanding about her, though, is that she doesn't wallow in self-pity as so many female characters were made to act in plays of the same time period: instead, as a capable sorceress, she takes her revenge. And it's a rash, morally grey, arguably insane revenge she takes, but you can't help but root for her.
The original story of Medea is one I love, but this was truly a masterful interpretation of the character, only elevated by the amazing style in Corneille's alexandrins.
I am not usually a Corneille fan (Racine my beloved), because he tends to write plays that are carried by themes of self-righteousness, glory and virtue, but his version of Medea is surprisingly impeccable, in that it shows morally grey, angsty and complex characters.
Along with Cocteau's Machine Infernale and Racine's Andromaque, this is now in my top 3 of french plays.
This play, apart from being terribly well written, depicts female rage better than most modern feminist books/series/movies I've encountered. For a play that was written by a man, and in 17th century France, this is one of the most progressive, feminist works I've read.
Medea is never shown as a victim, nor as fully crazy, unlike what Jason would like everyone to believe. She is portrayed in all her complexity, all her power, all her intelligence AND all her emotional nature as well. The character isn't ever objectively shown to be a monster. On the contrary, Corneille shows how badly she's been treated, how unfair everybody's been to her, and how she has no one left to turn to.
What's outstanding about her, though, is that she doesn't wallow in self-pity as so many female characters were made to act in plays of the same time period: instead, as a capable sorceress, she takes her revenge. And it's a rash, morally grey, arguably insane revenge she takes, but you can't help but root for her.
The original story of Medea is one I love, but this was truly a masterful interpretation of the character, only elevated by the amazing style in Corneille's alexandrins.