As a teen, blissfully happy in first love, our protagonist is confronted by the consequences of a strange event from her childhood. Teenage love, blacAs a teen, blissfully happy in first love, our protagonist is confronted by the consequences of a strange event from her childhood. Teenage love, blackmail, the world's weirdest superpower and a winter setting that fits it perfectly, and Cooney's remarkable, metaphor-laden, taut voice - the last of which elevates this far beyond ... what, its deserving? the YA thriller genre? maybe just my expectations. This is worth it for the childhood prologue alone, which is phenomenal; the teenage parts grow melodramatic, but I like that this finds so much tension in the lingering, haunting imprint of that one childhood evening. Of course an outsider wouldn't believe: our protagonist can barely believe - it's too strange, too unsettling, for her to view directly, and that strengthens the horror elements in a book that sometimes errs towards thriller territory. The thematic development has some YA heavy-handedness, but the uneasy ending is equally successful, especially compared to, again, my expectations of its particular trope.
Somehow, I never encountered Cooney as a kid, but she was ridiculously prolific, particularly in this genre. I'll have to look into more of her work....more
After the death of their young son, the family home of Starve Acre is a bleak, haunted place. Haunted in what way, dead for what reason, is revealed pAfter the death of their young son, the family home of Starve Acre is a bleak, haunted place. Haunted in what way, dead for what reason, is revealed piecemeal, taking an increasingly speculative bent. I like the atmosphere here, folk horror set within the bleakness and threatening fecundity of late winter turning to spring. But there's something about horror novels about the destruction of typical family units that always misses me. I swear I'm not trying to be contrarian, I get why it's such a fertile topic for horror, but it doesn't scare me and I'm much more team (view spoiler)[nursing a demon-hare baby (hide spoiler)]. So: fine, but not memorable....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
2.5 stars. After her wealthy father dies, our protagonist inherits nothing but her birth father, a goosekeeper and known thief. She build a new place 2.5 stars. After her wealthy father dies, our protagonist inherits nothing but her birth father, a goosekeeper and known thief. She build a new place for herself in the world while unraveling the secrets of her birth.
This (plucky protagonist, creepy manor, issues of class and protagonist identity, mysterious origin story, supernatural/gothic elements) reminded me a lot of Beatty's Serafina and the Black Cloak, which probably means I was spending more time noticing the tropes and pacing of modern gothic/fantasy MG than I was paying attention to this specific book. Take that as you will, but I think it indicates a lukewarm response. This is fine. I like the spooky atmosphere; the plotting is adequate but perhaps over-explained because this lacks the sense of the numinous which is what I love best in MG fantasy....more
In the wake of the world-altering fallout of the previous book, the cast copes with the return of lost ancient gods and the consequences of their counIn the wake of the world-altering fallout of the previous book, the cast copes with the return of lost ancient gods and the consequences of their countries' long war. I hugely disagree with criticisms of the magic system in this series, because that's easily my favorite part: magic is regional, fluid, and fuzzy, and while it's pointedly dissatisfying not to have easy answers, the result is something much more convincing and compelling for its nuance. I really enjoyed the middle worldbuilding sections on account.
Unfortunately, I'm a lot less interested in the sudden-onset found family vibes that permeate this book, and I lost the thread a bit in the climactic action: characters sacrificing/dying/(view spoiler)[returning (hide spoiler)] is thematically apropos but I hate it anyway, and when combined with a found family it makes the a tolerably-happy ending too predictable. Further, the writing hasn't significantly improved during the course of this series, although the quirks seem to change each volume; this time, a lot of onyx eyes and flat, quippy one-liners. There are elements of this series which I sincerely admire, and I don't regret reading it, but the execution leaves much to be desired....more
Our protagonist et al. head overland as their nations are trapped in an endless winter, seeking a magical forest where she can speak to the gods. ThisOur protagonist et al. head overland as their nations are trapped in an endless winter, seeking a magical forest where she can speak to the gods. This is a better book than the first in the series, but I don't think it's because the voice is meaningfully improved; I've only adapted. (Awkward sentences and comma splices abound; the repeated descriptions of a "beautiful, terrible boy" are ridiculous.) But the focus on the worldbuilding and the messy, compelling magic system--particularly the protagonist's relationship with magic/the divine--compels me. And while the interpersonal dynamics are unforgivably tortured, it's a fun torture: longing repressed by guilt, made more interesting by the larger forces at work on the cast. I'm still not convinced this series is good, but so far I don't regret continuing. ...more
2.5 stars. A cleric infiltrates her enemy's capital, aiming to assassinate their king. Okay: the writing here is atrocious. I can't say if it's object2.5 stars. A cleric infiltrates her enemy's capital, aiming to assassinate their king. Okay: the writing here is atrocious. I can't say if it's objectively worse than most YA or just more evidence of why I avoid the genre (although it at least isn't another example of the first person present tense curse). It does its best to undermine all its potential, but there's a lot of that: A conflict between divine magic (from questionable gods) and blood magic (with overtly problematic ethics); aesthetic gore and wintery war-torn nations; the tension of courtly politics, doomed desires, and deception. I dig the vibes; the worldbuilding developments at the 60% mark recaptured much of my attention. But I sure hope the sequels are better written, because there's only so much "he was a glorious monster, tragically beautiful"-style writing I can take. ...more
Elena wakes from the events of the previous book to find herself changed, and convinces Stefan and Damon to work together to help her protect her homeElena wakes from the events of the previous book to find herself changed, and convinces Stefan and Damon to work together to help her protect her home from a dangerous outside force. Turning the protagonist of a monster boyfriend/YA paranormal romance into (view spoiler)[a straight-up vampire this (relatively) early (hide spoiler)] is brilliant, actually, and I like the tone: simultaneously sorrowful, tense, and still a power fantasy, it continues to flatter the surprising strengths of Elena's unlikable characterization. And again, the vampire bits are great, distinctive and intimate. Unfortunately the action and denouement have a hammy tragedy which is a lot less interesting. I've been pleasantly surprised by this series, but I'm definitely not here for the plot. ...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
This is absolutely a premise I've encountered in fiction: a family patriarch uses geography and social isolation to indoctrinate his family into a selThis is absolutely a premise I've encountered in fiction: a family patriarch uses geography and social isolation to indoctrinate his family into a self-lead cut. And Kizzia takes a novel-esque approach, with a nonlinear narrative and a dual-stream narrative that tracks the family's external perception & interactions alongside its internal events. It's not so much "the truth is stranger than fiction"--just that the truth is compelling and painfully real. The escalations from suspicions of familial weirdness to first-person testimony of the father's abuse feels like a participant discovery in a distinctly culpable way: what warning signs will onlookers dismiss in favor of believing in the romance of a distant wild setting and a certain set of social aspirations? (And what petty community disputes will or won't finally bring those issues to a head?) Nuanced, eminently readable, evocative but in a way that recognizes how those same evocative elements can be leveraged as tools of grooming and abuse....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
Reading A Series of Unfortunate Events, that expectation of suffering, felt very Jewish, and when I researched Snicket to discover he was Jewish it waReading A Series of Unfortunate Events, that expectation of suffering, felt very Jewish, and when I researched Snicket to discover he was Jewish it was validating, secret, a key framework for the books ... so I love that there's also a distinctly non-secret Jewish book, no hidden framework, just a Jew latke real fed up with the cultural dominance of Christianity/Christmas.
When Snicket's humor works, boy does it work for me; this is absurd and relatable. The illustrations would be better with more variety: a more dynamic screaming latke, please & thanks. But the ironic, iconic red cloth & gold foil binding is perfection....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
Three men conspire to keep the money they find in a crashed plane. The "when you think you're the smartest man in the conspiracy but it turns out you'Three men conspire to keep the money they find in a crashed plane. The "when you think you're the smartest man in the conspiracy but it turns out you're just human and consumed with class anxiety" first half of this grows tedious--there's so much classism and fatphobia, so many unlikable characters, and it lacks the film adaptation's engaging tension of conspiring with/conspiring against one's co-conspirators. But as events escalate à la Macbeth they obtain a car-crash fascination--less tragic, sympathetic, and mad than Macbeth; more hopeless, ironic, staged. It's not artful or natural but it is effective, and I particularly love how the ending beats play out. The protagonist's wife is the stealth best character, a Lady Macbeth figure whose ruthlessness is enabled by her relative distance from the violence; her barely-glimpsed interiority is borderline inscrutable but intriguing. I frequently wished for a tighter, shorter version of this, but of course the film exists; the film is also more fun where this is frequently unlikeable--but it grew on me....more
Aging childless homesteaders in Alaska meet a strange little girl in this fairytale retelling. I'm not an easy sell on the longing to be a parent--canAging childless homesteaders in Alaska meet a strange little girl in this fairytale retelling. I'm not an easy sell on the longing to be a parent--can't relate, not engaged--so I'm impressed that this grew on me. It succeeds when it fosters long, slow investment in life on the farm, in the tentative parenthood of a half-fae, perhaps-imagined girl; the fairytale casts doubt and loss over the relationship, and characters have the time to struggle with the fairytale's implications: does parenthood require agency and control over one's child? does a relationship need to be witnessed to be real? So things falls apart in the final third, which introduces a new PoV and accelerates the timescale to create long-term consequences. Those consequences are necessary, but it's not as fully realized and the lack renders the fairytale elements, particularly re: women's "roles" and reproduction, dubious and borderline didactic. Ultimately not recommended, but it comes so close to success....more
Medraut, bastard and prodigal son, returns to Artos's court to care for his younger siblings in this historical retelling of Arthurian legend. It's a Medraut, bastard and prodigal son, returns to Artos's court to care for his younger siblings in this historical retelling of Arthurian legend. It's a fascinating little book, brief, with a deceptively sparse and precise style that reminds me of Wein's inked illustrations and of Elizabeth A. Lynn's novels, which share a focus on place and daily life as they underpin complex interpersonal arcs. There's no magic, but the imagery and winter setting create a quiet mythic tone. The emotional register is more repressed than quiet: angsty but nuanced, ambiguous and troubled; the ending is too neat in view of this, but I appreciate the overall effect....more
This is primarily about searches for the Franklin Expedition, and refuses to speculate on unknown elements, including contributing factors to its lossThis is primarily about searches for the Franklin Expedition, and refuses to speculate on unknown elements, including contributing factors to its loss. It has the benefit of being published after the ships were found, so it has satisfying payoff. The running themes are pointed and equally satisfying: learn from the Inuit when venturing to the Arctic; when looking for something in the Arctic, listen to the Inuit who tell you where it is (even if it takes effort and cultural adjustment!). But the stance on the titular ghosts, the human cost both of Arctic exploration and of chasing famous wrecks, is rather more weak than it is nuanced. And the actual narrative is unfortunately tedious. Overarching elements--like Lady Franklin's persistence; like, again, Inuit relations and knowledge--are successful, but the frequent asides and anecdotes less so. This was my first book on the Franklin Expedition, and it's thorough and certainly adequate. But it didn't grab me as much as I hoped it would given the subject....more
The exaggerated horizontal panels lean into the atmosphere of stretching, inexorable loneliness; Gorey's uniquely pointless titles (titles which, in sThe exaggerated horizontal panels lean into the atmosphere of stretching, inexorable loneliness; Gorey's uniquely pointless titles (titles which, in such a short piece, carry a lot of weight) create an appropriate sense of anticlimax. It's an effective, atmospheric little package: lonely, wintery, absurd, quaint--very Gorey, but the particular setting and stylistic experiments, like the inset circular vignettes, make it stand out within his work....more
I love Walden's style. Her use of color is unusual, her fluid panels convey tone and pacing so well. Queer strangers bonding while making a roadtrip tI love Walden's style. Her use of color is unusual, her fluid panels convey tone and pacing so well. Queer strangers bonding while making a roadtrip through the surreal landscape of rural Texas is an evocative, sympathetic premise, and I love the atmosphere. But everything comes together with more repetition than epiphany--the climax needs an emotional charge that it sadly failed to strike in me. And--and this breaks my heart, but--it's weirdly difficult to read. I read On a Sunbeam digitally and wish I'd done the same here, as a consistent backlight makes the dark-on-dark art more legible; in lieu of that, I wish the margins and text bubbles weren't stark white, which turns the panels into unfortunate dark voids.
Revolutionary for its Black protagonist, this still holds up. The sharp edges and textured solids of the art style, combined with the focus on play, mRevolutionary for its Black protagonist, this still holds up. The sharp edges and textured solids of the art style, combined with the focus on play, make it incredibly tactile. The narrative knows when to step forward to provide context or momentum, and when to step back and let the art and actions speak. There's not much else going on (beside the still-important protagonist), but there doesn't need to be: the experience of snow, of sensation and play, is a delight....more
Loading...
