The book takes place in the 1960s in Bicho Raro, Colorado and follows the lives of three members of the Soria family—each of whom is searching for their own miracle. There’s Beatriz, who appears to lack feelings but wants to study her mind; Daniel, the “Saint” of Bicho Raro, a miracle worker for everyone but himself; and Joaquin (a.k.a. Diablo Diablo), who runs a pirate radio station at night.
"The Soria family are saints as well, and the miracle they perform for pilgrims to Bicho Raro is as strange as most miracles are: They can make the darkness inside you visible. Once the pilgrims see their inner darkness face to face, it’s up to them to perform another miracle on themselves: banishing the darkness for good. It can be a tricky business to vanquish your inner demons, even once you know what they are, but the Sorias are forbidden to help with this part. They’ve all been told that if a Soria interferes with the second miracle, it will bring out their own darkness, and a saint’s darkness, so the story goes, is a most potent and dangerous thing." - Maggie Stiefvater, EW interview.
About Maggie Stiefvater
I am Maggie Stiefvater. I write books. Some are about dead Welsh kings. Some are about werewolf nookie. Some are about neither.
I have been a wedding musician, a technical editor, a portrait artist, and, for several fraught weeks, a waitress. I play several musical instruments (most infamously, the bagpipes), I still make art, and I recently acquired and unacquired a race car.
I live in the Shenandoah Valley in Virginia with my husband, my two children, some cows, three dogs who fart recreationally, a criminally insane cat, an interminable number of miniature silky fainting goats, and one 1973 Camaro named Loki.
I’m nearing the point where I’m about to run out of any back Stiefvater to read (all I have left is Lament and Ballad!) so this is a welcome sight. “Saints. Miracles. Family. Romance. Death. Redemption.” is more than enough summary for me to get anxious.
Enter the players. There were seven of us then, seven bright young things with wide precious futures ahead of us. Until that year, we saw no further than the books in front of our faces.
On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it.
Ten years ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extra. But in their fourth and final year, the balance of power begins to shift, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent.
Part coming-of-age story, part confession, If We Were Villains explores the magical and dangerous boundary between art and life. In this tale of loyalty and betrayal, madness and ecstasy, the players must choose what roles to play before the curtain falls.
DNF @ 10%
I overlooked the Shakespearean focus of this novel in favor of the comparisons to The Secret History. My mistake. Shakespeare has just never, and I’m resigned to believe will never, be my thing. The opening gives the reader a glimpse at the future, of one of the main characters being released for jail for an unknown crime, and it’s a hook that works. But then we’re introduced to seven characters: Richard, Meredith, Filippa, Alexander, Wren, James, and Oliver. Every single one of these characters, regardless of gender, all blended together without any helpful differentiation to keep track of who was who. The theater kid stereotypes were excessive in my opinion and you practically had to be a theater kid to understand and/or appreciate most of it.
“That was ruthless,” I said, sotto voce.
The author holds a Masters in Shakespeare studies so, being as far from a theater kid as one can get, I can only assume she knows what she’s talking about. Constantly quoting Shakespeare in conversation got old, fast, and by 10% I put on my hipster glasses and called it quits.
I received this book free from Netgalley in exchange for an honest review. This does not affect my opinion of the book or the content of my review.
Two sensational unsolved crimes—one in the past, another in the present—are linked by one man’s memory and self-deception in this chilling novel of literary suspense from National Book Award finalist Dan Chaon.
“We are always telling a story to ourselves, about ourselves,” Dustin Tillman likes to say. It’s one of the little mantras he shares with his patients, and it’s meant to be reassuring. But what if that story is a lie?
A psychologist in suburban Cleveland, Dustin is drifting through his forties when he hears the news: His adopted brother, Rusty, is being released from prison. Thirty years ago, Rusty received a life sentence for the massacre of Dustin’s parents, aunt, and uncle. The trial came to symbolize the 1980s hysteria over Satanic cults; despite the lack of physical evidence, the jury believed the outlandish accusations Dustin and his cousin made against Rusty. Now, after DNA analysis has overturned the conviction, Dustin braces for a reckoning.
Meanwhile, one of Dustin’s patients gets him deeply engaged in a string of drowning deaths involving drunk college boys. At first Dustin dismisses talk of a serial killer as paranoid thinking, but as he gets wrapped up in their amateur investigation, Dustin starts to believe that there’s more to the deaths than coincidence. Soon he becomes obsessed, crossing all professional boundaries—and putting his own family in harm’s way.
From one of today’s most renowned practitioners of literary suspense, Ill Will is an intimate thriller about the failures of memory and the perils of self-deception. In Dan Chaon’s nimble, chilling prose, the past looms over the present, turning each into a haunted place.
DNF @ 25%
Dan Chaon is one of those literary writers everyone raves about. Ill Will has received many spectacular reviews but I’ve realized that he has a style that is very eclectic and definitely isn’t for everyone and that unique writing style is what ultimately did me in. I understand the reason for writing it this way (bouncing between narrators and time) because it caused a sense of disorientation regarding the mystery already surrounding the crime (when Dustin was a teen, his mother, father, aunt, and uncle were murdered and he accused his adopted older brother). Not only did the story bounce rapidly between narrators and between time but often there were sentences left incomplete and particular chapters where text was written in columns and you had to flip back and forth between pages to finish the one column before starting the next which was very difficult on Kindle. I’m not sure if Chaon was going for some House of Leaves-esque formatting or what but it left me so confused in trying to figure out how to read it that I failed to get lost in the story itself.
I received this book free from Library Thing in exchange for an honest review. This does not affect my opinion of the book or the content of my review.
From the author of The Uninvited comes a haunting historical novel with a compelling mystery at its core. A young child psychologist steps off a train, her destination a foggy seaside town. There, she begins a journey causing her to question everything she believes about life, death, memories, and reincarnation.
In 1925, Alice Lind steps off a train in the rain-soaked coastal hamlet of Gordon Bay, Oregon. There, she expects to do nothing more difficult than administer IQ tests to a group of rural schoolchildren. A trained psychologist, Alice believes mysteries of the mind can be unlocked scientifically, but now her views are about to be challenged by one curious child.
Seven-year-old Janie O’Daire is a mathematical genius, which is surprising. But what is disturbing are the stories she tells: that her name was once Violet, she grew up in Kansas decades earlier, and she drowned at age nineteen. Alice delves into these stories, at first believing they’re no more than the product of the girl’s vast imagination. But, slowly, Alice comes to the realization that Janie might indeed be telling a strange truth.
Alice knows the investigation may endanger her already shaky professional reputation, and as a woman in a field dominated by men she has no room for mistakes. But she is unprepared for the ways it will illuminate terrifying mysteries within her own past, and in the process, irrevocably change her life.
DNF @ 10%
I’d say that I simply picked this up at the wrong time, mood-wise, except I tried to read this book a handful of times on different occasions and never got past 10%. The pacing was the hardest for me because from the very beginning it’s a slow-build and simply didn’t grab my attention in that 10% enough that I felt the need to keep going. The main character, Alice, was also strangely distant and she never quite captured my interest. Cat Winters is typically a favorite of mine but this one just didn’t do it for me.
Feyre's survival rests upon her ability to hunt and kill – the forest where she lives is a cold, bleak place in the long winter months. So when she spots a deer in the forest being pursued by a wolf, she cannot resist fighting it for the flesh. But to do so, she must kill the predator and killing something so precious comes at a price ...
Dragged to a magical kingdom for the murder of a faerie, Feyre discovers that her captor, his face obscured by a jewelled mask, is hiding far more than his piercing green eyes would suggest. Feyre's presence at the court is closely guarded, and as she begins to learn why, her feelings for him turn from hostility to passion and the faerie lands become an even more dangerous place. Feyre must fight to break an ancient curse, or she will lose him forever.
‘I was as unburdened as a piece of dandelion fluff, and he was the wind that stirred me about the world.’
Beauty and the Beast is one of my favorite fairy tales and it’s always so fascinating to see how authors mold fairy tales into a unique story of their own. A Court of Thorns and Roses definitely veers off the standard path making “Beast/Tamlin” a member of the fae court, making “Belle/Feyre” a badass female hunter, and removing the animated furniture entirely. The story still revolves around the curse and the time ticking down before it’s too late, but Maas adds a magical element (and a deviant female villain) to this already magical fairytale that I absolutely adored. What I loved most was the incredibly dark turn she took the tale which gave the added opportunity of adding a new level of complexity and intrigue to Feyre’s character.
“Don’t feel bad for one moment about doing what brings you joy.”
Like spending time re-reading. I occasionally get hang-ups about “wasting” time re-reading when I should be spending my time reading stories that I haven’t yet experienced. But sometimes a re-read is necessary (like when you’re gearing up for the final installment of a beloved trilogy!!) and sometimes the second time is even better than the first. I read A Court of Thorns and Roses for the first time in June 2016 and it was far from love at first sight (mostly because I was never Team Tamlin) but during this re-read I was able to set aside my issues with the romance and focus more on the world building and the fascinating aspects of the story itself that I didn’t pay much attention to the first time. I also decided to splurge and bought the audiobook copies and guys, let me tell you, these are fantastic on audio with Jennifer Ikeda’s narration. I’m pretty devastated that she won’t be returning to narrate A Court of Wings and Ruin but it’s still well worth listening to her narrate the first two installments, I’ll just be reading the third one with my eyeballs instead. 🙂
Beauty knows the Beast’s forest in her bones—and in her blood. Though she grew up with the city’s highest aristocrats, far from her father’s old lodge, she knows that the forest holds secrets and that her father is the only hunter who’s ever come close to discovering them.
So when her father loses his fortune and moves Yeva and her sisters back to the outskirts of town, Yeva is secretly relieved. Out in the wilderness, there’s no pressure to make idle chatter with vapid baronessas…or to submit to marrying a wealthy gentleman. But Yeva’s father’s misfortune may have cost him his mind, and when he goes missing in the woods, Yeva sets her sights on one prey: the creature he’d been obsessively tracking just before his disappearance.
Deaf to her sisters’ protests, Yeva hunts this strange Beast back into his own territory—a cursed valley, a ruined castle, and a world of creatures that Yeva’s only heard about in fairy tales. A world that can bring her ruin or salvation. Who will survive: the Beauty, or the Beast?
“She wept because she did not know what she wanted, and because she wanted everything.”
Yeva has never been comfortable living among the town aristocrats but instead dreams of the stories her father would tell her when she was younger; of the forest and the magic contained within. When her father loses his fortune and they are forced to move back to his lodge in the woods, Yeva could not be more content knowing she can spend her days familiarizing herself once again with the woods even though she knows it’s not a reasonable way for her to spend her life. Her father also begins spending his days and nights in the woods, mentioning hunting a beast and when he fails to come home after weeks of being gone, Yeva sets out to help him only to be captured by the beast that her father was hunting.
“She moves like beauty, she whispers to us of wind and forest—and she tells us stories, such stories that we wake in the night, dreaming dreams of a life long past. she reminds us of what we used to be. She reminds us of what we could be.”
Hunted is told primarily from Yeva’s point of view but is interspersed with short snippets from the Beast, showing the constant battle between his animalistic side while he fights to retain a hold of his humanity. Yeva is kept in a cell for weeks on end, telling him stories of Ivan and the Firebird to the one on the other side of her cell door who brings her food every day, having no idea that he is also her captor. The Beast finally shows himself to her and reveals that he captured her for a purpose: she must train to be a more superior hunter than she already is because she’s the only one that can kill the creature responsible for cursing him.
Hunted is a combination of the classic Beauty and the Beast fairy tale with the Ivan, the Firebird, and the Gray Wolf Russian fairy tale and it’s a slow to unfold type of story. There’s also a disassociation from any sort of emotional connection that was key in my own connection with the story. I found it to be a beautiful story in essence of a young girl not knowing what to do with her life, wandering aimlessly, and I really wanted to feel her adversity but I never quite felt like there is much at stake for our young heroine. The significance behind the Firebird plays a huge role in this tale, as well as storytelling in general, and the romantic building blocks were left feeling incomplete in the attempts at focusing on the bigger picture. There is a note at the end Spooner includes regarding the origins of this story and the lengthy process it took to come to fruition was a heartwarming story. Her dedication to all of her readers was unbelievably touching and made me wish I had loved this story more than I did.
‘Male or female, young or old, if you’re reading this book, then you’re also that child reading by flashlight and dreaming of other worlds. Don’t be scared of her, that inner Beauty, or her dreams. Let her out. She’s you, and she’s me, and she’s magic.
There’s no such thing as living happily ever after — there’s only living. We make the choice to do it happily.’
Smart, bookish Belle, a captive in the Beast’s castle, has become accustomed to her new home and has befriended its inhabitants. When she comes upon Nevermore, an enchanted book unlike anything else she has seen in the castle, Belle finds herself pulled into its pages and transported to a world of glamour and intrigue. The adventures Belle has always imagined, the dreams she was forced to give up when she became a prisoner, seem within reach again.
The charming and mysterious characters Belle meets within the pages of Nevermore offer her glamorous conversation, a life of dazzling Parisian luxury, and even a reunion she never thought possible. Here Belle can have everything she has ever wished for. But what about her friends in the Beast’s castle? Can Belle trust her new companions inside the pages of Nevermore? Is Nevermore’s world even real? Belle must uncover the truth about the book, before she loses herself in it forever.
“Isn’t that what a good story does? It pulls you in and never lets you go.”
DAMMIT, I WANTED THIS STORY TO PULL ME IN AND NEVER LET ME GO.
Lost in a Book replicates its Disney counterpart where Belle is a captive of the Beast in his castle that still includes Cogsworth, Lumiere, Mrs. Potts, Chip, and more. Beast reveals his library to Belle and she is awed, but instead of the bright shiny room of perfection we all have embedded in our minds:
Belle immediately realizes how much the library has fallen into disrepair and needs to be cleaned excessively. Within this library, she finds a room and within this room a special book which transports her to a world of adventure where anything is possible. She quickly becomes enamored with the book and the world it shows her, despite her understanding that it isn’t actually real, and is constantly sneaking away to be in this world. When she isn’t hiding in the book, she’s complaining ad nauseam about her provincial life.
Good gawd, we get it, you hate your life. Lost in a Book quickly becomes less about the Beast and all about Belle… more scenes from his point of view would have been welcome. Any scenes that showed the Beast’s feelings for Belle grow felt lacking any sort of emotion and instead felt like all it was was a last ditch effort to save his servants. Maybe those parts were left out with the understanding that we knew, based on the Disney production, how Beast actually felt, but I wanted to see it included in the story itself since there were so many changes I felt it should have been able to stand on its own. Especially in regards to the villain: Gaston was absent completely in exchange for a female villain: Death. Yes, Death. You see, the story actually starts with Death and her sister Love.
Indeed. See Death and Love made a bet that Belle wouldn’t be the one to break the spell (Death obviously bet against her) and when she began to realize that Love might actually win, she set out to make sure that didn’t happen. *yawn* This could have been a charming addition to Beauty and the Beast retellings but the story lacked any real substance and most definitely lacked the magic the original tale had.
How do you live your life if your past is based on a lie? A new novel in both verse and prose from #1 New York Times bestselling author, Ellen Hopkins.
Arielle’s life is a blur of new apartments, new schools, and new faces. Since her mother abandoned the family, Arielle has lived nomadically with her father as he moves from job to job. All she’s ever wanted is to stay in one place for an entire school year, and it looks like she might finally get her wish. With a real friend, Monica, who might be even more than a friend soon, things are starting to look up.
But Arielle’s life is upended—and not by her father, but by her mom, who reveals that she never left Arielle. Instead, Arielle’s father kidnapped her, and her mom has been left searching ever since. She wants to take Arielle away, but Arielle has no connection with her mother, and despite everything, still loves her father. How can she choose between the mother she’s been taught to mistrust and the father who sewed that suspicion?
Not one person on this planet cares about you.
No one but Daddy, who loves you more than anything in the whole wide world, and would lay down his life for you. You remember that, hear me?
I heard those words too often in any number of combinations Almost always they came floating in a fog of alcohol and tobacco.
Arielle has only ever known her dad from an early age. Dependable yet temperamental, he’s taken care of her for years on his own. Bounced from house to house and different woman to woman, Arielle and her father have finally settled down long enough in a town for her to begin to get comfortable. She’s joined the girls basketball team, she’s made friends, and she’s discovered a side of her sexuality that she fears. She’s never had a mom because according to her dad, she left both of them for her lesbian lover. Coming out to her father as the same would be beyond reckless.
Maya has a difficult relationship with her mother. She ran her father out of the house and joined Scientology, expecting Maya to do the same. When her mother tells her they’ll be moving from Texas to Sea Org in Los Angeles, a Scientology organization, she concocts a way to avoid having to go: she gets pregnant. The father, Sergeant Jason Ritter, proposes to her and she feels relief at finally escaping her mother but she’s traded one bad situation for another.
Funny How the Brain Manages damage control, conveniently curtaining windows that overlook certain footpaths into the past.
I try to keep the shades drawn.
Anything by Ellen Hopkins is bound to pack a punch with the types of subjects she tackles and The You I’ve Never Known is no different. This time she deals with abandonment, sexuality, and abuse, but it felt much more passive than some of her past stories. I’m always incredibly fond of her dual storylines and trying to determine the connection before the big reveal. While her stories are always lengthy in page count, the time it took for that big reveal to happen seemed to be dragged out for longer than was necessary. Often with Hopkins’ writing style, you find yourself getting lost in the beauty of her words. She still used verse as her main writing style and her typical formatting is there but it was much less lyrical and much more dense with a lot of backstory that lacked the passion her stories usually have. The main issue was with how the parents are portrayed. Her villains come in many forms, but in this story, they were the parents of both Maya and Arielle. They were both written as manic and often terrifying people, with little to no redeeming qualities. It was all black, no white, and definitely no gray area, and this lack of complexity caused them to come off as caricatures and nothing more.
Hopkins has long been a favorite of mine and while I felt this one was lacking, her stories still manage to linger in my head long after finishing. She tackles the subjects that most often need to be brought to light, I only wish that she would also focus more on the poetic aspects that make these ugly subjects beautiful.
Natasha: I’m a girl who believes in science and facts. Not fate. Not destiny. Or dreams that will never come true. I’m definitely not the kind of girl who meets a cute boy on a crowded New York City street and falls in love with him. Not when my family is twelve hours away from being deported to Jamaica. Falling in love with him won’t be my story.
Daniel: I’ve always been the good son, the good student, living up to my parents’ high expectations. Never the poet. Or the dreamer. But when I see her, I forget about all that. Something about Natasha makes me think that fate has something much more extraordinary in store—for both of us.
The Universe: Every moment in our lives has brought us to this single moment. A million futures lie before us. Which one will come true?
“What a difference a day makes.”
Natasha possesses a scientific and mathematical mind that believes in finding solutions. Her current problem that requires one: her family are undocumented immigrants from Jamaica and she’s being forced to return to the country of her birth that night. Daniel is a poet and believes wholeheartedly in fate. His Korean immigrant parents expect him to attend an Ivy League school, become a doctor, and marry a nice Korean girl. Neither Natasha nor Daniel like the looks of the futures that have been mapped out for them. When the two cross paths and end up spending what Natasha believes to be their last day together (which Daniel is unaware of), their chemistry is undeniable. Whether it’s because of Daniel’s belief in fate or Natasha’s belief in chance, their budding romance is certain. But with only a guarantee of a single day, is a happy ending even possible?
‘We’re kindling amid lightning strikes. A lit match and dry wood. Fire Danger signs and a forest waiting to be burned.’
This story belongs to more than just Natasha and Daniel, although they are the stars of the show. We’re given a behind the scenes look at all the puzzle pieces that had to fall in to place in order for everything to happen just as it did. Not just what happens to Natasha and Daniel, but how their presence impacted the others that they crossed paths with. We see how the guard, Irene, causes Natasha to miss an important appointment but inevitably ends up saving Irene. We see how a near miss with a drunk driver results in changed circumstances for another. We see how a broken down train sets Daniel on a path he otherwise wouldn’t have found himself on. Whether or not this is a vote towards the possibility of fate, that’s certainly up for the reader to decide.
“I didn’t know you this morning, and now I don’t remember not knowing you.”
Yoon has said that while this story isn’t autobiographical, it’s definitely inspired by her own personal love story which must be why this story seems to possess so much sentiment. While I’m not typically a fan of anything closely resembling insta-love, The Sun is Also a Star possesses a type of insta-love that I can get behind. These two characters somehow manage to build a meaningful relationship with one another that was not only believable but something to aspire to, albeit in approximately 12 hours. Suspending your disbelief may be a slight requirement but it’s well worth it for romantics and cynics alike.
“Maybe he was just saying that we should live in the moment. As if today is all we have.”
Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, a new play by Jack Thorne, Harry Potter and the Cursed Child is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage. The play will receive its world premiere in London’s West End on July 30, 2016.
It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband and father of three school-age children.
While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places.
*some spoilers to follow*
If I’m being honest, I never originally intended on reading this story. I adore Harry Potter, I just felt that the story was better left as is after the epilogue of the Deathly Hallows. But then my book bestie morphed into the pushiest book pusher that ever pushed and suddenly I found myself having already finished and wondering how I ever thought I could not read this. Setting aside all the vast amounts of criticism this has received (i.e. this isn’t written by Rowling, it reads like fan-fic, it’s not even a book but a screenplay) it ended up being more than I could have ever hoped for.
“Hogwarts will be the making of you, Albus. I promise you, there is nothing to be frightened of there.”
Taking us right back to the epilogue of the Deathly Hallows, we get to see Albus getting on his first train to Hogwarts. And his discussion with Harry regarding the possibility of him being placed in Slytherin. We’re not given the detailed account of his time spent at Hogwarts, but rather the generalized impression that Hogwarts isn’t quite the sanctuary for him that it was for his father. The comprehensive details of the world are also missing from the screenplay but for those of us who have already read the first seven books, that world is emblazoned upon our minds and no rehashing of details are necessary for us to fully comprehend each and every scene.
Cursed Child manages to smoothly connect many major plot points from the original novels: the infiltration of the Ministry of Magic by Harry, Ron, and Hermione (Deathly Hallows, book 7), the Tri-Wizard tournament and Cedric’s death (Goblet of Fire, book 4), time turners (Prisoner of Azkaban, book 3), the perpetual battle between good and evil, and the important father-son relationships that have been a focal point of this series from the beginning. It also makes a less than obvious point of showing how seemingly inconsequential deaths end up having a much larger impact in the grand scheme of things. With the help of a time turner, we’re shown snippets of how the world could have been with the simplest of changes. The variation of possibilities was both shocking and horrifying. What I most enjoyed was how this wasn’t simply a new set of adventures with a new set of characters but rather recognition of the fact that the actions of the past was not a given end to that story, but that they inevitably had an effect on the future of their own children.
Harry: “How do I protect my son, Dumbledore?” Dumbledore: “You ask me, of all people, how to protect a boy in terrible danger? We cannot protect the young from harm. Pain must and will come.”
While we do see the original characters and what they have become 19 years later, the focal point is on their children, primarily Albus and Scorpius who become immediate friends on the Hogwarts Express. Albus has a severely strained relationship with his father, Harry, and has difficulty living up to not just the enormous importance of his father, of the great men he was named after, and because of the fact that he was in fact placed in Slytherin rather than his father’s house, Gryffindor. It’s easy to see from the original stories how understandable it would be for Harry to not be the perfect father, considering his own lack of a permanent father figure. He does what he feels is best even when it is quite clearly not best, and the scenes between the two are often painful and heartbreaking. Scorpius, son of Draco Malfoy, also suffers from a poor relationship with his father due the actions of his past as well as Draco’s own relationship with his father, Lucius.
In October of this year I decided to do an impromptu re-read of the Harry Potter series on audio. I have re-read books 1-3 numerous times but I tend to run out of steam and have never been able to re-read books 4-7. Well, I finally overcame my hangups and completed my first re-read of Goblet of Fire. Due to the majority of this story centering around the storyline from The Goblet of Fire I chose to do my second re-read of the year (ha) of Cursed Child since the storyline was still so fresh in my mind. It works extremely well if you treat it as a #4.5 book as well, granted, it’s vital to know the outcome of the series as a whole in order to fully appreciate how it ties everything together and illustrates the growth of these characters.
“Perfection is beyond the reach of humankind, beyond the reach of magic. In every shining moment of happiness is that drop of poison: the knowledge that pain will come again. Be honest to those you love, show your pain. To suffer is as human as to breathe.”
Yes, perfection is an impossibility, and while there were many things I would have personally changed, this still managed to hit all my Harry Potter feels as perfectly as possible. Cursed Child reinforced my love of both the original stories and characters by growing them in legitimate ways, it gave me new characters to love (primarily Scorpius <3), and it removed the stereotype associated with Slytherin house by showing that not all associated are necessarily evil. #slytherinpride
After leaving Lockwood & Co. at the end of The Hollow Boy, Lucy is a freelance operative, hiring herself out to agencies that value her ever-improving skills. One day she is pleasantly surprised by a visit from Lockwood, who tells her he needs a good Listener for a tough assignment. Penelope Fittes, the leader of the giant Fittes Agency wants them--and only them--to locate and remove the Source for the legendary Brixton Cannibal. They succeed in their very dangerous task, but tensions remain high between Lucy and the other agents. Even the skull in the jar talks to her like a jilted lover. What will it take to reunite the team? Black marketeers, an informant ghost, a Spirit Cape that transports the wearer, and mysteries involving Steve Rotwell and Penelope Fittes just may do the trick. But, in a shocking cliffhanger ending, the team learns that someone has been manipulating them all along. . . .
About Jonathan Stroud
Jonathan Anthony Stroud is an author of fantasy books, mainly for children and youths.
Jonathan grew up in St Albans where he enjoyed reading books, drawing pictures, and writing stories. Between the ages seven and nine he was often ill, so he spent most of his days in the hospital or in his bed at home. To escape boredom he would occupy himself with books and stories. After he completed his studies of English literature at the University of York, he worked in London as an editor for the Walker Books store. He worked with different types of books there and this soon led to the writing of his own books. During the 1990s, he started publishing his own works and quickly gained success.
Jonathan is the author of the bestselling Bartimaeus Trilogy as well as Lockwood & Co. from Disney-Hyperion.
After an ominous glimpse at the future, Lucy decided it was best to part ways with Lockwood & Co. She transformed herself practically overnight into a successful freelance agent (with the help of the talking skull in a jar that she carries around with her) that have many vying for her services. When a knock on her door early one morning brings Lockwood back into her life, requesting her services in a most important job, she struggles to decide which is the right path for her. Lucy begins to realize though that the premonition she foresaw for Lockwood just might happen with or without her presence. The jobs the group takes on though continue to increase in the risk involved and Lucy realizes she’d be hard-pressed to say no to the opportunity to work alongside him and the group once again.
‘It was a bit annoying not being able to sleep, but it was a change being kept up by moral conundrums rather than Wraiths and Specters. Doubts, like ghosts, gain strength in darkness; even with the dawn I wasn’t sure I’d done the right thing.’
While Lucy’s apprehension about re-joining the group, albeit temporarily, was understandable, I sure did love to see the gang all back together. Lucy, Lockwood, and George always had a fantastic team dynamic and the addition of Holly in The Hollow Boy did cause things to go somewhat askew but fortunately that wasn’t for good. Holly has become a full-fledged, active member of the team, her and Lucy have repaired their personal rift, and she even briefly shows a bit of her badass side much to my satisfaction. Skull still manages to keep his spot secured as my favorite character of the bunch though, despite his partial absence in this tale. His snarky commentary is so very comical.
“You’ve got a good thing going here,” the skull said. “It’s called independence. Don’t throw it away. And, speaking of throwing things away – your dress. Too tight.“ “You think so? It looks all right to me.” “You’re only looking at the front, love.“ An altercation ensued here.
What with Skull’s partial absence, George stepped in as a suitable replacement for the time being.
“George.” “What?” “We’ve got to destroy the circle. That monster flare of yours. Now might be just the time for it.” “What? Big Brenda?” “You’ve given it a name?” “I’ve grown kind of attached to her.”
When the group begins investigating why someone could be stealing powerful sources, this leads them to convoluted conspiracies, ghostly experiments, and all sorts of danger. Stroud still manages to deliver on the creepy too. Extremely unnerving lines that’ll make your eyes widen from unseen horrors. I loved seeing Lucy operating successfully solo but it was such a joy to see her back with the team again. Stroud leaves us with yet another stunner of a cliffhanger that will leave fans of this series both anxious and nervous for future dangers in store for the team.
‘There are many new questions to answer, and our investigations have only just begun.’
Thanks to the wonderful individuals over at Disney-Hyperion, I have a most excellent prize pack to giveaway! One winner will receive the Lockwood & Co. series. (all 4 books!) and a pumpkin-carving kit to get into the Halloween spirit!
Leave a comment expressing your interest in this story to enter!
This giveaway is open to US residents only and will end on November 11th, 2016.
Lucy Acosta's mother died when she was three. Growing up in a Victorian mansion in the middle of the woods with her cold, distant father, she explored the dark hallways of the estate with her cousin, Margaret. They're inseparable—a family.
When her aunt Penelope, the only mother she's ever known, tragically disappears while walking in the woods surrounding their estate, Lucy finds herself devastated and alone. Margaret has been spending a lot of time in the attic. She claims she can hear her dead mother's voice whispering from the walls. Emotionally shut out by her father, Lucy watches helplessly as her cousin's sanity slowly unravels. But when she begins hearing voices herself, Lucy finds herself confronting an ancient and deadly legacy that has marked the women in her family for generations.
“The girl lives in a beautiful dollhouse made of stone, […] But underneath her shining plastic smile, there are only screams.”
Lucy Acosta lives in her family’s estate, home-schooled, with only her cousin Margaret for company. Her father is a constant absence but her Aunt Penelope is their main caretaker. After Walter, the cook, commits suicide, her Aunt Penelope walks into the woods and disappears without a trace, and Margaret says she’s hearing voices in the walls, Lucy has no one to turn to. Lucy’s hold on her mental stability is fragile and her answer to hardship is to sequester herself in her room with a razor. She begins to realize though that no one else seems to grasp the seriousness of the issues going on and that it’s up to her alone to battle whatever evil resides within her home.
With a blurb essentially guaranteeing you sleepless nights, the story unfortunately felt lifeless, causing the intended terror to be nothing more than a distant mirage. The characters appear as mere caricatures without any solid background development to help the reader feel sympathetic to their plight. The lack of backstory is an enormous issue too with a complete lack of “connecting dots” that are clearly meant to be make this story more mysterious but ends up just not making sense half the time. What seemed to be a Gothic Victorian period piece ended up being the modern equivalent when the slang being used (“That promise sure lasted a hot minute.”) and the random sprinkling of curse words were taken into account. I really wish I had more nice things to say about this because I was genuinely excited for this story, alas, I wasn’t impressed by much until the very end and by then it was merely too little, too late.
Prohibition, the KKK, and Hamlet collide in this richly imagined historical mystery by Morris Award finalist Cat Winters
A thrilling reimagining of Shakespeare’s Hamlet, The Steep and Thorny Way tells the story of a murder most foul and the mighty power of love and acceptance in a state gone terribly rotten.
1920s Oregon is not a welcoming place for Hanalee Denney, the daughter of a white woman and an African-American man. She has almost no rights by law, and the Ku Klux Klan breeds fear and hatred in even Hanalee’s oldest friendships. Plus, her father, Hank Denney, died a year ago, hit by a drunk-driving teenager. Now her father’s killer is out of jail and back in town, and he claims that Hanalee’s father wasn’t killed by the accident at all but, instead, was poisoned by the doctor who looked after him—who happens to be Hanalee’s new stepfather.
The only way for Hanalee to get the answers she needs is to ask Hank himself, a “haint” wandering the roads at night.
The year is 1923 and in a small town in Oregon, hate spreads like wildfire. Life is challenging for Hanalee Denney, the daughter of a black man and a white woman, but she has learned to persevere. When her father is killed by a drunk driver, she’s devastated by his absence from her life, especially after her mother quickly remarries. The boy responsible for his death, Joe Adder, is released from prison a mere seventeen months after being sentenced and once Hanalee finds out she takes her anger and a loaded gun to pay him a visit. After speaking with Joe, she leaves with her entire perception changed after hearing a vastly different story about what happened the night her dad died: he didn’t die from an automobile accident and that the man her mom remarried is the one truly responsible for his death.
I’ve read every Cat Winters book at this point but they seem to be hit or miss for me. I loved both In the Shadow of Blackbirds and The Uninvited, but felt The Cure for Dreaming was slightly mediocre in comparison. The Steep & Thorny Way falls in the latter category. Much like Dreaming, I felt that the subject matter was something I would normally welcome, however, overall it ended up feeling incredibly flat and listless. Cat Winters signature style has always been a fusion of stories with historical importance and a flair of paranormal, and it’s something that she does quite well. With, Thorny though, the Hamlet retelling comparisons as well as the paranormal aspects were elements which could have been left out entirely without affecting the story. A story about a half black/half white girl living during the rise of the Ku Klux Klan and a homosexual boy that is struggling to survive in a time where the study of eugenics has many thinking the issue of homosexuality is something that can be “fixed” is absolutely a strong enough story on its own.
I always appreciate the lesser known periods of history being given a spotlight and it’s interesting to see a story focus on the influence of the Ku Klux Klan extending far past the deep South, clear into Oregon. Tackling both race and sexuality prejudices in addition to touching on the topic of eugenics was edifying without feeling overwhelming, except I kept feeling off and on as if these characters were simplistic versions of their true potential. I suppose what it all boils down to though is Winters definitely demonstrates the ugliness of the times, yet it’s covered in a glossy veneer that hides the true grotesqueness doing the seriousness of the story somewhat of a disservice.
A thrilling, seductive new series from New York Times bestselling author Sarah J. Maas, blending Beauty and the Beast with faerie lore.
When nineteen-year-old huntress Feyre kills a wolf in the woods, a beast-like creature arrives to demand retribution for it. Dragged to a treacherous magical land she only knows about from legends, Feyre discovers that her captor is not an animal, but Tamlin—one of the lethal, immortal faeries who once ruled their world.
As she dwells on his estate, her feelings for Tamlin transform from icy hostility into a fiery passion that burns through every lie and warning she's been told about the beautiful, dangerous world of the Fae. But an ancient, wicked shadow grows over the faerie lands, and Feyre must find a way to stop it... or doom Tamlin—and his world—forever.
Perfect for fans of Kristin Cashore and George R. R. Martin, this first book in a sexy and action-packed new series is impossible to put down!
A fairy-tale retelling of Beauty and the Beast in a world made up of humans and faeries. Five hundred years before, humans were enslaved by faeries but following the Treaty, the wall was built to relegate humans to a sliver of land kept separate from faeries. Growing up, Feyre has known nothing but hate for faeries and their kind, hearing the stories of their violence and abuse of power. Her family was once great, living in a manor, with her father being a lucrative merchant. But now, at nineteen years old she is the youngest of her two other sisters, but it is left up to her to ensure her families safety after their mothers death and her fathers inability to care for them any longer. Not wanting to fall asleep another night with an empty belly, she sets out to the dangerous forest and does manage to fell a deer, but also a massive wolf. This wolf though, was actually fae and his master appears soon after demanding retribution by way of her death. Shockingly, she is offered an alternative: that Feyre come live on his land forever, in safety not to be enslaved, never to see her family again. She accepts.
“I threw myself into that fire, threw myself into it, into him, and let myself burn.”
Having lived in fear of the fae, she is shocked to realize that they aren’t quite as brutal as is commonly said. And the one that offered her her life, Tamlin, is incredibly kind to her forcing her to re-evaluate her generalized feelings about his kind. During her time there, she discovers that there is a blight on the land that resulted in the fae being forced to forever hide their faces behind masks, a female fae that everyone seems to be terrified of, and enough secrets to make anyone curious. But by the time she finds out exactly what is being kept from her, will it be too late?
This was one of those that I never got around to reading (even though I received an ARC) because of the massive hype surrounding it. Eighteen months later and look at me, I’m finally reading it! So much time had lapsed that I had even forgot that this was a Beauty and the Beast retelling with a faerie twist! Incredibly fascinating concept so I was eager to love it. Alas, I did not, but it was still an enjoyable tale.
From the very beginning I adored Feyre. She was quite a capable character that was willing to do anything to make sure her family was able to eat. Even though she was the youngest of her two other sisters (with one of them being a royal asshole that I totally would have let starve) and even though her father could have gotten a job but simply didn’t. The fact that she stayed as strong as she was, didn’t let life beat her down, was a testament to her tenacity and I loved her for it. Once she arrived in the faerie kingdom, she got a few points docked for being such an imbecile and running off into danger all the damn time but I guess we have to consider the fact that even though she was being told shit was dangerous, she didn’t really know who to trust. Tamlin was the requisite studly yet brooding faerie that she was clearly meant to fall for from the very beginning. He was interesting but he was no Beast… he was trying way too damn hard and it becomes a little obvious in the end why that is but I won’t spoil that. All in all though he was a pretty boring love interest that lacked a lot of depth.
And now for my biggest issue: the romance. Honestly, the sexy times descriptions by themselves were cringe worthy.
“…ignoring how easily I could see the cut of his muscles beneath his white shirt, the way the blood soaking it made them stand out even more.”
And my favorite that had me laughing like a loon:
“My fingers grappled with his belt buckle, and his mouth found mine again. Our tongues danced – not a waltz or a minuet, but a war dance, a death dance of bone drums and screaming fiddles.”
I mean, seriously? War dance? Bone drums? Screaming fiddles?
I mentioned that Tamlin lacked depth, well, the romance really lacked depth. But then again, if you think about it, seems a bit fitting in terms of Disney fairy-tale comparisons. They make swoony eyes at one another, someone gets put into mortal danger leading the other to make some heroic rescue, there’s some dancing and kisses and just general love stuff going on. Disney romances never consist of talking about feelings and working through issues, it’s just sweet and flawless and they live happily ever after, the end. Fortunately, Maas didn’t leave us with that yawn worthy ending. Which brings me to the question I’d been asking myself almost the entire time: So… who’s Gaston in this tale? Amarantha. Evil incarnate. And yes, a woman. She turns the tables forcing Feyre to be the rescuer in this story and basically, badassery ensues. I will let the rest be a surprise in addition to the character fully introduced near the end that made it ALL worth while.
Maas really had a fascinating concept with her fantasy/fairy-tale hybrid, but I feel that it never quite came to fruition for me. The world-building was superb and I feel with a bit more time delving into the actual characters in future installments we’ll have a real winner with this one. At least one can hope.