After the events of the previous book, Easton returns home to Gallacia to recover & to host Miss Potter at their family lodge - only to find the caretAfter the events of the previous book, Easton returns home to Gallacia to recover & to host Miss Potter at their family lodge - only to find the caretaker dead, and the locals avoiding the area. Nothing objectively wrong with this, also (I feel like) nothing particularly striking: cool to see a glimpse of Gallacia and engage with the worldbuilding, and I like the "no, you see, THOSE horrors all had logical explanations! this one is just superstition" premise. But, unfortunately for me, I was distracted by the combination of Vernon's humor, the first person narrative, and Roque's overacted narration, which together fall straight into forced. Not unlistenable, but not for me; I basically brute forced it to the finish line....more
Veris is the only person to have entered the north woods and returned and, compelled by the Tyrant, she enters them again in search of his missing chiVeris is the only person to have entered the north woods and returned and, compelled by the Tyrant, she enters them again in search of his missing children. Nightmare-fairytale woods set in autumn, and I picked it up at the beginning of autumn - it felt like it showed up wrapped in a bow and there was no chance I wouldn't like it. And I do! This has great heaps of aesthetic, intuitive magics, strange monsters, fey creatures, and the right kind of evocative language to suit the weird setting. The tortured backstories get pretty tortured, and the protagonist's reveals don't quite land - there's nothing objectively wrong with them; they just fail to live up to the build-up. But the consequences of the setting (both within and without the forest) are thoughtful & effective, particularly in the relationship between the protagonist and the children, the children as representative (or not) of their position. This is reread material for me next autumn. ...more
I don't know that there could be a version of a walking, talking scarecrow making frightful faces which isn't a little creepy and, indeed, this is preI don't know that there could be a version of a walking, talking scarecrow making frightful faces which isn't a little creepy and, indeed, this is pretty creepy. Creepy-cute, or just unsettling? I didn't like it (especially the straw-stuffing functioning as teeth no thanks), but it's vibrant, and certainly not boring, and copying the faces would probably be fun for a kid.
The ending (the protagonist isn't censured for sneaking out to use his fierce faces in the field) intrigues me. It should be refreshing, but there's commentary here about the scarecrow child being raised into the family business, taking the initiative to prove his usefulness, and therefore earning his place while still young which ... is probably bigger than my quick review of a picture book allows, but feels gently dated, a product of MWB's era and a relic by the time this was published in 1998....more
4.5 stars, rounded up. After his grandmother dies, Kit and his family move in with his grandfather in a small ex-mining town. Kit, thirteen, who share4.5 stars, rounded up. After his grandmother dies, Kit and his family move in with his grandfather in a small ex-mining town. Kit, thirteen, who shares a name with the victim of a mass mining accident, plays a game of Death. This is a story of intergenerational trauma: the imprint that mining deaths left on a community which has since radically changed; the loss of a family member, and stories passed between generations; Kit's antagonistic friendship with Askew, a schoolmate who's a victim of child abuse. Almond's voice is sparse, but his text is dense; the summary barely touches everything going on here. Characters double and foil each other; inset narratives and ghosts add a surreal magical realist element balanced by incredibly realistic dialog. The relationship between Kit and Askew is captivating, a dynamic, intense, queer bond between boys from different backgrounds, united by a shared vision from opposite ends of the spectrum: "You and me, we're just the same."
It's not a flawless book. The coda runs overlong and puts too neat an end to beautifully complex themes; it turns out that intergenerational trauma is surprisingly easy to heal! who knew; how convenient. But many middle grade books about capital-d Death feel like award-bait; this is affecting but it's also weird and nuanced and has a Alan Garner-like dreamy quality. I loved it....more
In order to protect her vampire boyfriend, our protagonist seeks out his much more dangerous brother. Young adult paranormal romance always requires sIn order to protect her vampire boyfriend, our protagonist seeks out his much more dangerous brother. Young adult paranormal romance always requires suspension of belief in order to buy the premise of "ancient vampire is content to love a teenager and perpetually attend high school" and that's fine, it's just the buy-in for the genre; but the plot here is a lot of teenage drama, so much that I don't want to be there and the vampires hanging around feel even less convincing.
But! The uncanny early coming of a grim winter is delightfully gothic, the vampire scenes in this series have been consistently great, and, perhaps controversially, I love Elena: her humbling as a queen bee and the fact that this makes her (often irritating) bossiness and pride a source of strength is, sincerely, a great character arc. This is trash reading for sure, and its flaws bug me, but it's as often great trash....more
A popular high schooler sets her sights on the new boy, who's actually an old, old vampire. Past me would have been "above" this, but, character growtA popular high schooler sets her sights on the new boy, who's actually an old, old vampire. Past me would have been "above" this, but, character growth: present me thinks it's pretty fun. It's distinctly schlocky, but in the interesting way that early examples of a trope or genre are, where they're establishing hallmarks but deviate from later examples on some key points. For example, the protagonist: far from relatable, she's entitled and selfish--and surprisingly this grew on me, and it plays well in the romance. Short and sweet, stupidly Halloweeny, pure brain candy; this is just what I hoped for and I will read more....more
Set in a rural Southern town in the 60s, new kid Nathan hides from abusive home within the dubious love and protection of his neighbor Roy. I adore anSet in a rural Southern town in the 60s, new kid Nathan hides from abusive home within the dubious love and protection of his neighbor Roy. I adore an evocative atmosphere and this certainly has that: the dregs of summer, the racial and social tensions of a changing South, the flawed but brilliant potential of an adolescent love which is shadowed by abuse and (very internalized) homophobia. But the ending gets ... weird. The steady, realistic pacing and slightly oblique voice are tossed aside for (view spoiler)[a graphic depiction of rape and murder, followed by a surreal fantasy of surviving/escaping the homophobia that motivated it (hide spoiler)]--interesting but not necessarily effective, and certainly messy. This is a short book, and that complements all aforementioned strengths but perhaps means the end is doomed to fail....more
A socialite makes a journey to visit her ill cousin at a decaying manor in the Mexican mountains--a manor which is unwilling to let anyone leave. The A socialite makes a journey to visit her ill cousin at a decaying manor in the Mexican mountains--a manor which is unwilling to let anyone leave. The execution of this is just so-so: a lot of repetition in the characterization and in the cluttered sources of inspiration; as always I wish that modern gothics would pull back like 10%, as the reveals are so substantially speculative that they grow setpiecey and infodumpy. But it's hard to fault that impulse to go all-out, because the all-outness of the rest of the book is great fun: strong atmosphere, memorable setting, intentionally and effectively exploring the gothic of this specific socio-cultural context; a solid balance of good intentions and just plain fun to read. (It also makes for a strong appendix in the book of the month edition, mostly short essays from the author.) Call it good bones and weaker musculature, or maybe just that Moreno-Garcia isn't the right writer for me....more
Lovely color palette and pleasing art--except, as usual for picture books, the humans. Aesthetically I dig the cozy Halloween vibes.
Thematically, thisLovely color palette and pleasing art--except, as usual for picture books, the humans. Aesthetically I dig the cozy Halloween vibes.
Thematically, this is on the nose (fine, for a picture book) and not very thoughtful. "Differences are what make individuals special" works, but "and when you recognize this, your differences will have no downside" doesn't work, given that the quilt ghost is effectively physically disabled, and "when other people recognize this, they'll stop bullying you and finally accept you as a friend, and this is a happy ending" is just gross, is what it is. I don't know that this hot take is necessary--plenty of picture books survive on vibes and good intentions, and their themes prove flawed on close reading. The issues here are really nothing more than, say ... Rudolph the Red-Nosed Reindeer. Still, it soured my reading....more
DNF at 60%. I've had mixed to positive experiences with Jones's other work, and really didn't expect to bounce off of this. There are absolutely effecDNF at 60%. I've had mixed to positive experiences with Jones's other work, and really didn't expect to bounce off of this. There are absolutely effective ways to play animal harm in fiction against the way fiction/society glorifies or dismisses human harm, particularly against people of color; I expect that's at the heart of this text and that it does it well. But I wasn't up to the challenge or the tone. Perhaps I'll try again in a future November....more
This is such a brilliant, cozy, quaint premise: a miniature house buried under autumn leaves. But what lackluster execution. The art, acrylics with coThis is such a brilliant, cozy, quaint premise: a miniature house buried under autumn leaves. But what lackluster execution. The art, acrylics with colored pencil, has the right palette and level of detail for the fallen leaves, but I don't like the cartoony style of everything else. And the little woman trapped in her little house isn't really that small, just a bit scared. Her fear isn't convincing, so the atmosphere falls flat; the resolution is saccharine and banal.
I really wish I hadn't read this; it was so much more fun to extrapolate from the cover art. Learn from my mistakes!...more
"How sad and endangered is this kitten that I found outdoors; oops, I forget that I left my own cat unsupervised outside" unintentionally and ironical"How sad and endangered is this kitten that I found outdoors; oops, I forget that I left my own cat unsupervised outside" unintentionally and ironically summarizes my issues with cats in picture books, so I would reiterate them. The grey and orange art touched by copper foil is a great choice--I don't know if I've ever seen foil on interior pages of a picture book?--that enlivens otherwise mediocre art. This on the sweet, spoopy, oh so gently atmospheric, cozy side of Halloween picture books. It's cute to browse, but not memorable....more
The illustrations and tone are a delight--adorable little monsters, so much detail and color, but gentle and engaging rather than hectic. (The invisibThe illustrations and tone are a delight--adorable little monsters, so much detail and color, but gentle and engaging rather than hectic. (The invisible love interest is a particularly charming detail.) But I'm less enamored thematically. It's sweet and well-intended but, as a was-a-shy-kid, the advice "literally just stop being shy, and then you won't be lonely" is hilariously useless....more
You know those vintage advertisements featuring photorealistic illustrations of cherubic, uncannily over-expressive kids in full color? Like that, onlYou know those vintage advertisements featuring photorealistic illustrations of cherubic, uncannily over-expressive kids in full color? Like that, only darker watercolors, and at the heart of the narrative is an eerie tree watching the kids with its branch-framed moon, its nighttime critters, its drifting leaves. It could be an interesting tonal contrast if it felt intentional, but it doesn't, really--this leans hard into a nostalgia I just don't share or care about, and it overshadows the promising spooky elements....more
A bear experiences his first autumn. The dark, messy lines and cool autumnal colors are definitely a style! But the floppy, long-muzzled bear is a misA bear experiences his first autumn. The dark, messy lines and cool autumnal colors are definitely a style! But the floppy, long-muzzled bear is a miss for me. Since this is a cute but straightforward autumn book, all about cozy vibes and learning the changing seasons, its success hinges on its art; I found it forgettable....more
A little girl is befriended by the secretive, unpopular outsider who introduces her to the elven village in her back garden. This is a memory from my A little girl is befriended by the secretive, unpopular outsider who introduces her to the elven village in her back garden. This is a memory from my middle school-ish years that I haven't touched since then; I still prefer that memory (wherein the elf houses are more aesthetic and play a rather more prominent role), but I'm surprised how well this holds up. It succeeds because the elves (who, of course, aren't real) are such a flexible metaphor--not just for making one's own magic or escapism, but for finding magic and beauty where others refuse to look for it: for reclaiming Otherness. The MG problem novel always feels like Newberry bait (and this won the medal of honor), but this is less hamfisted than most; I like the prickly, fickle characterization and the protagonist feels like a child, overwhelmed by the situation at hand, given no clean resolution, really only able to change and empower herself with the hope that that still counts for something....more
Take my opinion with a grain of salt as my ideal sequel would feature sets like "the facing wall of the living room" or "the witch's bedroom, maybe?"-Take my opinion with a grain of salt as my ideal sequel would feature sets like "the facing wall of the living room" or "the witch's bedroom, maybe?"--but the cozy, accepting home atmosphere of the first book is a big part of what makes it so special. It's present here, but less central; the emphasis instead is seasonal spectacle. That's the perfect excuse for cute and kitschy props, and the dioramas remain a delightfully unique art style choice that makes me want to reach in and touch/be part of the world. Bonus star for the art, and this is a fun sequel; but it's relatively slight, and not something I'll reread incessantly as I do I Am a Witch's Cat....more
3.5 stars rounded up. This was a childhood favorite and it's a lovely autumn reread. It's so dang cozy, especially the details of the home--also earth3.5 stars rounded up. This was a childhood favorite and it's a lovely autumn reread. It's so dang cozy, especially the details of the home--also earthy, magical, charming, domestic, picturesque, even quaint; there's an inherent humor in taxonomizing the fantastic. It doesn't just hold up to but indeed benefits from my haze of nostalgia. That said, the suck fairy has paid a brief visit since my childhood, particularly to touch on the strict gender roles and the praise for a lost "traditional" way of life which is linked to inherent moral purity, beauty, and the great man theory. The longer stories at the end contradict and complicate some of these elements, but the general trend remains and it rankles. ...more
Reread, 2022: Oh, this is so fun. I love where our narrator stands in the drama unfolding, how sympathetic is his/our shared fascination and how humorReread, 2022: Oh, this is so fun. I love where our narrator stands in the drama unfolding, how sympathetic is his/our shared fascination and how humorous is his emotional distance. I love the slow build of atmosphere with the coming autumn. I even like the ending more this time: the gothic lampshaded, the climax required, when our focus is always just on Alice.
Original review, 2020: A portrait artist recounts his efforts to paint an unlikely lady whose distant affect is broken only by her singular, unusual obsession. This reminds me of Clemence Housman's The Were-Wolf in that queer women--even if operating through male names or male characters--write the most convincing portrayals of women who fascinate despite that/because they're not "traditionally attractive," women who are strange, monstrous, unfriendly--and utterly compelling. The subject of this novella looks past the narrator, past the reader, and leads our gaze. She's heartless and smug and playful, and engages gothic tropes with a devious delight. The early-autumn atmosphere is similarly indulgent; the ending is overlarge and borderline silly, but that's also true of a lot of gothics and I forgive it. This was a great introduction to Lee/Paget's work, and I look forward to reading more....more
The last two books in this series are functionally a duo. The friends who were notably absent in Moominpappa at Sea now come to visit the abandoned MoThe last two books in this series are functionally a duo. The friends who were notably absent in Moominpappa at Sea now come to visit the abandoned Moomin home. This book is more satisfying, both because it benefits from its relation to the previous book and because it has a better balanced tone: the plot moves faster, the book is shorter, and so the subdued and melancholy atmosphere is balanced against the character arcs; it feels like the fantastic short story collection. But it's also a weird place to end the series, and I wish the last two books could have somehow been combined into a single volume or arc.
Insofar as a review of the final book is a review of the series entire: The Moomin series was never quite what I wanted it to be. Often too silly, sometimes weirdly sad, there was always something in the way of my ability to fully enjoy the quirky, bumbling cast and the evocative/fantastic elements. I think that could have been remedied had I encountered the series as a child, when I would have been more receptive to the humor and more likely to latch on to the magic. But even if my adult reading experience was flawed, the cumulative effect is memorable, often because of things I've seen as flaws. The shifting tone, the kitchen sink approach to plot structure, all are distinctive; it's playful and childlike and kind, but has an adult's insight that I imagine ages remarkably well. I can see why these are beloved of so many, and wish I'd been a better audience, but it was still time well spent....more
Loading...
