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Hazel (1853 KP) rated Summer Days and Summer Nights: Twelve Summer Romances in Books
Dec 17, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review </i>
Stephanie Perkins, the best selling author of <i>Anna and the French Kiss</i> has compiled a second anthology of short stories. Twelve selected tales have been included from a variety of young adult authors including: Libba Bray, Veronica Roth, Cassandra Clare and Jennifer E. Smith. For those that have read Perkins’ previous anthology, <i>My True Love Gave To Me</i>, the concept is the same. Twelve love stories set in, as the title, <i>Summer Days and Summer Nights</i>, strongly suggests, the summer.
What can be expected from all the stories in this collection is that they fit snuggly into the Romance genre of young adult fiction. The way the authors decided to tackle this, however, was up to their own interpretations. Thus, the final outcome is a selection of works that fall into a variety of categories: fantasy, contemporary, LGBT, horror, sci-fi etc.
As a result there are a number of different character types and storylines, suggesting that there is bound to be something for everyone. There are lovey-dovey stories, heart-wrenching stories, exciting action stories, implying that there will be at least one you will favour, and hopefully make purchase worthwhile.
It is not merely love that can be found between these pages, so if you are, like me, not overly impressed with teenage love stories, there are other themes to focus on. Many of the main characters are nearing the end of their schooling and thinking about the future: college, perhaps. Readers discover, and possibly relate to, their hopes, doubts and fears of what is to come. Yet while these thoughts are buzzing in their heads they are also trying to enjoy their summers, some with summer jobs, others hanging out with friends. Alongside all of this are darker issues of depression, cancer and parents divorcing; events that many teenagers unfortunately have to deal with. So, throughout all the make-ups and break-ups, there is so much more going on under the surface.
It is always difficult to decide what age range “Young Adult” refers to. Some may assume it is anyone in their teens, however in the case of <i>Summer Days and Summer Nights</i> I would label it a book for older teenagers, those of similar ages to the characters depicted: sixteen to nineteen. This is due to the slightly adult themes of a few of the stories and the amount of swearing many of the authors resort to.
Unfortunately for me, I did not find a perfect story within this collection. There were some I enjoyed more than others; likewise there were some I was not keen on at all. It is for this reason I have only given a rating of three stars. I do not want to put prospective readers off however as this is merely a case of personal preferences and not a true reflection of the authors’ exceptional writing skills.
Stephanie Perkins, the best selling author of <i>Anna and the French Kiss</i> has compiled a second anthology of short stories. Twelve selected tales have been included from a variety of young adult authors including: Libba Bray, Veronica Roth, Cassandra Clare and Jennifer E. Smith. For those that have read Perkins’ previous anthology, <i>My True Love Gave To Me</i>, the concept is the same. Twelve love stories set in, as the title, <i>Summer Days and Summer Nights</i>, strongly suggests, the summer.
What can be expected from all the stories in this collection is that they fit snuggly into the Romance genre of young adult fiction. The way the authors decided to tackle this, however, was up to their own interpretations. Thus, the final outcome is a selection of works that fall into a variety of categories: fantasy, contemporary, LGBT, horror, sci-fi etc.
As a result there are a number of different character types and storylines, suggesting that there is bound to be something for everyone. There are lovey-dovey stories, heart-wrenching stories, exciting action stories, implying that there will be at least one you will favour, and hopefully make purchase worthwhile.
It is not merely love that can be found between these pages, so if you are, like me, not overly impressed with teenage love stories, there are other themes to focus on. Many of the main characters are nearing the end of their schooling and thinking about the future: college, perhaps. Readers discover, and possibly relate to, their hopes, doubts and fears of what is to come. Yet while these thoughts are buzzing in their heads they are also trying to enjoy their summers, some with summer jobs, others hanging out with friends. Alongside all of this are darker issues of depression, cancer and parents divorcing; events that many teenagers unfortunately have to deal with. So, throughout all the make-ups and break-ups, there is so much more going on under the surface.
It is always difficult to decide what age range “Young Adult” refers to. Some may assume it is anyone in their teens, however in the case of <i>Summer Days and Summer Nights</i> I would label it a book for older teenagers, those of similar ages to the characters depicted: sixteen to nineteen. This is due to the slightly adult themes of a few of the stories and the amount of swearing many of the authors resort to.
Unfortunately for me, I did not find a perfect story within this collection. There were some I enjoyed more than others; likewise there were some I was not keen on at all. It is for this reason I have only given a rating of three stars. I do not want to put prospective readers off however as this is merely a case of personal preferences and not a true reflection of the authors’ exceptional writing skills.
Sophia (Bookwyrming Thoughts) (530 KP) rated I Was Here in Books
Jan 23, 2020
Well, here's to my first contemporary audiobook.
Gayle Forman's latest novel didn't exactly give me the feels as much as <i>If I Stay</i> did. <i>I Was Here</i> mainly focuses on Cody, a girl who finds her best friend Meg's suicide a bit fishy and decides to look deeper into her death.
From all of the flashbacks, Cody is obviously a follower – a shadow to Meg. After Meg's death, Cody is a little lost – she's grieving, she wants to find out if Meg actually did commit suicide (or if someone coerced her into it), and all of that leads her to dig deeper into Meg's past year at college. With Cody trying to find her own footsteps after Meg's death, <i>I Was Here</i> felt like a coming of age story.
It's also a story where all of those online safety rules that I learned in elementary school are flipped upside down. I don't know if I should say Cody is just a really stupid character, or a really brave character. Perhaps both. In her digging, Cody is led to an online suicide support group that Meg frequented on, which eventually leads her to a user Meg communicated off the boards as well. In an attempt to weed out the user, Cody decides to pose as a suicidal person as well, which eventually leads her to finding out the person's address (with help) and Cody actually decides to go to that person's home.
I still don't know whether to call Cody an idiot or not. Obviously she has balls to try and find out what really caused Meg's death, and she's obviously not an idiot if she brings someone with her.
Jorjeana Marie seemed quite platonic throughout most of the narration – either for the possible effect of Cody being platonic as she finds her path, or another reason entirely. It was also difficult at times to tell if Marie was making an attempt to have a different voice for male and female characters. If the character was angry or snapping at another character, you can tell there's a bit of rage or snap if you listen closely, but when you're walking to work when there are cars driving by, it's actually hard to tell if Marie did snap.
Marie does, however, do a fantastic job in the very emotional parts of the book, especially when Cody or Ben or any of the other characters are crying. I almost believed the narrator was actually crying, or an actual kid came in and narrated a kid part. I doubt there are books that mainly consists of crying, but if there are, I'm half expecting to see Jorjeana Marie's name on the back. :p
The entire novel is really just about a girl who lived under a shadow of another girl, and when that girl died, the shadow has to try and find her own path without that person. <i>I Was Here</i> isn't exactly emotional unless you can <i>really</i> connect with the story and the main character.
<a href="https://bookwyrmingthoughts.com/audiobook-review-i-was-here-by-gayle-forman/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Gayle Forman's latest novel didn't exactly give me the feels as much as <i>If I Stay</i> did. <i>I Was Here</i> mainly focuses on Cody, a girl who finds her best friend Meg's suicide a bit fishy and decides to look deeper into her death.
From all of the flashbacks, Cody is obviously a follower – a shadow to Meg. After Meg's death, Cody is a little lost – she's grieving, she wants to find out if Meg actually did commit suicide (or if someone coerced her into it), and all of that leads her to dig deeper into Meg's past year at college. With Cody trying to find her own footsteps after Meg's death, <i>I Was Here</i> felt like a coming of age story.
It's also a story where all of those online safety rules that I learned in elementary school are flipped upside down. I don't know if I should say Cody is just a really stupid character, or a really brave character. Perhaps both. In her digging, Cody is led to an online suicide support group that Meg frequented on, which eventually leads her to a user Meg communicated off the boards as well. In an attempt to weed out the user, Cody decides to pose as a suicidal person as well, which eventually leads her to finding out the person's address (with help) and Cody actually decides to go to that person's home.
I still don't know whether to call Cody an idiot or not. Obviously she has balls to try and find out what really caused Meg's death, and she's obviously not an idiot if she brings someone with her.
Jorjeana Marie seemed quite platonic throughout most of the narration – either for the possible effect of Cody being platonic as she finds her path, or another reason entirely. It was also difficult at times to tell if Marie was making an attempt to have a different voice for male and female characters. If the character was angry or snapping at another character, you can tell there's a bit of rage or snap if you listen closely, but when you're walking to work when there are cars driving by, it's actually hard to tell if Marie did snap.
Marie does, however, do a fantastic job in the very emotional parts of the book, especially when Cody or Ben or any of the other characters are crying. I almost believed the narrator was actually crying, or an actual kid came in and narrated a kid part. I doubt there are books that mainly consists of crying, but if there are, I'm half expecting to see Jorjeana Marie's name on the back. :p
The entire novel is really just about a girl who lived under a shadow of another girl, and when that girl died, the shadow has to try and find her own path without that person. <i>I Was Here</i> isn't exactly emotional unless you can <i>really</i> connect with the story and the main character.
<a href="https://bookwyrmingthoughts.com/audiobook-review-i-was-here-by-gayle-forman/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Bong Mines Entertainment (15 KP) rated Rose Coloured - Single by Celine Love in Music
Jul 10, 2019
Celine Love is a London-based singer-songwriter from Hamburg. Not too long ago, she released a music video for her debut single, entitled, “Rose Coloured”.
“The music video (directed by Sylvia Hong) explores how that darkness we are shielded from as children were always there. A lot of us may think back to our childhood as perfect when truly we have blocked out the negative we might have seen or experienced. If we do not confront these issues from the past, it can drive you insane.” – Celine Love
‘Rose Coloured’ tells an interesting tale of a happy young girl who wants to use love to erase darkness.
Apparently, her caramel skin differs from her friends’ vanilla skin tone. But she doesn’t see the difference between her and them.
Even though they trust each other, she still has to look at life through a rose-colored filter.
‘Rose Coloured’ contains a relatable storyline, pleasing vocals, and lush instrumentation flavored with contemporary R&B and neo-soul elements.
“The idea behind ‘Rose Coloured’ was to capture memories, moments and situations that describe the blissful ignorance of my childhood. The desire to put a rose-colored filter on everything that is bad in the world. Before racism, insecurities, heartbreak, or stress became part of life. The world is not only on your side but shields you from the negativity.” – Celine Love
“The imagery in ‘Rose Coloured’ is taken directly from my childhood. The song describes both joy and pain in wanting to relive these moments. Not having to confront the real world with all its social pressures and evils. Growing up in Germany there was a time when I saw my skin color as nothing but ‘caramel’, everyone else was simply ‘vanilla’. The chorus goes ‘I wanna live in a fool’s paradise, show me what love is and we can erase all the darkness.’ The music video reflects this inner conflict.” – Celine Love
A few milestones in Celine Love’s young career include a full scholarship to the music school BIMM Berlin & London.
Not too long ago, she performed at the 2000 Trees in Cheltenham, Kings Jam in Gloucester, Deichbrand and Reeperbahn Festival in Germany, and supported the electro-pop band Years & Years in Hamburg for NRJ Radio.
She composes music with expressionism and self-discovery at its core with a hint of socio-critical commentary.
“The imagery within the song is directly taken from my memories. Writing and recording it left me feeling very nostalgic. So I dug out old photos and songs and reached out to my childhood best friend. It reminded me of a pivotal time as a child, before I became aware of the differences in skin color and hair structure. Not only did I look different from most of the German kids surrounding my life but I would be treated differently too. It wasn’t always negative, but always in a way that made me feel excluded. There was a time before I became aware that my skin color was nothing but ‘caramel’ and everyone else was simply ‘vanilla’. Nothing more. ‘Rose Coloured’ is an almost desperate wish to have that mindset back. The wish to live in a ‘fool’s paradise’. – Celine Love
“The music video (directed by Sylvia Hong) explores how that darkness we are shielded from as children were always there. A lot of us may think back to our childhood as perfect when truly we have blocked out the negative we might have seen or experienced. If we do not confront these issues from the past, it can drive you insane.” – Celine Love
‘Rose Coloured’ tells an interesting tale of a happy young girl who wants to use love to erase darkness.
Apparently, her caramel skin differs from her friends’ vanilla skin tone. But she doesn’t see the difference between her and them.
Even though they trust each other, she still has to look at life through a rose-colored filter.
‘Rose Coloured’ contains a relatable storyline, pleasing vocals, and lush instrumentation flavored with contemporary R&B and neo-soul elements.
“The idea behind ‘Rose Coloured’ was to capture memories, moments and situations that describe the blissful ignorance of my childhood. The desire to put a rose-colored filter on everything that is bad in the world. Before racism, insecurities, heartbreak, or stress became part of life. The world is not only on your side but shields you from the negativity.” – Celine Love
“The imagery in ‘Rose Coloured’ is taken directly from my childhood. The song describes both joy and pain in wanting to relive these moments. Not having to confront the real world with all its social pressures and evils. Growing up in Germany there was a time when I saw my skin color as nothing but ‘caramel’, everyone else was simply ‘vanilla’. The chorus goes ‘I wanna live in a fool’s paradise, show me what love is and we can erase all the darkness.’ The music video reflects this inner conflict.” – Celine Love
A few milestones in Celine Love’s young career include a full scholarship to the music school BIMM Berlin & London.
Not too long ago, she performed at the 2000 Trees in Cheltenham, Kings Jam in Gloucester, Deichbrand and Reeperbahn Festival in Germany, and supported the electro-pop band Years & Years in Hamburg for NRJ Radio.
She composes music with expressionism and self-discovery at its core with a hint of socio-critical commentary.
“The imagery within the song is directly taken from my memories. Writing and recording it left me feeling very nostalgic. So I dug out old photos and songs and reached out to my childhood best friend. It reminded me of a pivotal time as a child, before I became aware of the differences in skin color and hair structure. Not only did I look different from most of the German kids surrounding my life but I would be treated differently too. It wasn’t always negative, but always in a way that made me feel excluded. There was a time before I became aware that my skin color was nothing but ‘caramel’ and everyone else was simply ‘vanilla’. Nothing more. ‘Rose Coloured’ is an almost desperate wish to have that mindset back. The wish to live in a ‘fool’s paradise’. – Celine Love
Gareth von Kallenbach (980 KP) rated Total Recall (2012) in Movies
Aug 7, 2019
Remaking classic films is always risky business. Mainly because there is a specific reason those movies are so well received – because they are the best of their time. Remakes are inherently risky because the filmmakers have a bar they have to at least reach, and they absolutely cannot tread the exact same ground as the original. They have to do something new, modern, or innovate. Or, at least they are expected to. When remakes work, they soar. When they don’t… Well, that’s another story. Paul Verhoeven’s “Total Recall” (1990) was an excellent science fiction monolith of its time. It stood out as a heartfelt science fiction story, one that was exceptionally aware of its own identity, design, and overall setting. It reflected the vary soul of its time – intentionally representational of culture at the time (late 80s and early 90s). If Len Wiseman’s remake, “Total Recall” (2012) is supposed to be a representation of contemporary culture in the same way as the original, then I fear our popular culture is too shallow for high minded science fiction. While not a bad movie – in fact, it is actually quite entertaining overall – it just does not feature the same soul and passion of the original film.
The premise follows the original in only a rough sense. Sometime in the future, the world has been left mostly uninhabitable due to a deadly chemical war across the globe. Humanity has been left to residing in the only remaining habitable landmasses – Western Europe and “The Colony”, the latter being modern-day Australia. Because air travel is now impossible, the only travel between the landmasses is through a massive elevator called “The Fall” that cuts through the center of the Earth. Douglas Quaid (Colin Farrell) is a factory worker who works in Europe but lives in “The Colony” with his wife, Lori (Kate Beckinstale). His chronic nightmares lead him to become interested in the “Rekall” service – a machine that can implant memories into customers. His interest will lead him on a wild journey with Melina (Jessica Biel) to learn about his true self as well as secrets of Cohaagen’s (Bryan Cranston) tyrannical administration.
The problems of the film really start with the premise. While I enjoy the creativity of something like “The Fall”, it is simply too ridiculous to take seriously. They deserve credit for coming up with a relatively unknown science fiction concept, but an elevator that travels through the center of the Earth? Peoples’ suspension of disbelief can only be pushed so far. It serves a practical purpose in the plot – to create the conflict between “The Colony” and the mainland and between the government and the Resistance. Yet, too much time is spent trying to introduce this concept and make it seem plausible than the film should. It honestly seems easier to just use the original film’s conflict between settings – Mars and Earth. I have to ask, what makes an elevator between two lands more contemporary of an idea than a conflict between colonial Mars and Earth. This is especially true considering recent news that a Mars colony might be seen in our lifetimes.
The other problems are more literary. Colin Farrell’s Douglas Quaid is portrayed very well throughout the film, and he manages to make the character satisfactory in the emotional portrayal of a man with a confused past and an insane situation. But even then, I have to say Arnold’s original portrayal seemed overall more human. The problem with Colin Farrell’s character is a mixture of performance and writing in his introduction. It is hard to believe him as someone so distraught over his nightmares that he absolutely feels compelled to go to Rekall. If they spent more time exploring his inner demons and how they are bringing his life down, then he would have been a much more compelling character. As it stands, he just goes through the motions of a protagonist. All of the other characters are the same way. Kate Beckinstale’s villainous Lori and Jessica Biel’s Melina are fairly shallow characters. They are not bad at their roles but that is all they, unfortunately, are: roles. Like Quaid, they just go through the motions, playing their part as clichéd character archetypes. Bryan Cranston is always awesome in any role, but in this he is not given much to work with. All he ends up being is just an evil tyrant with a megalomaniacal plot – with very little reason or background.
Those issues said, there are many things that do work. The pacing is good throughout, with no moments feeling awkward. The art design is exceptional, and there are no moments in the film that are boring to look at. To its credit, almost every scene is full of beautiful science-fiction design. The only complaint in this area is that some of the action scenes feel very cluttered due to the overall noise of The Colony’s design. The plot moves forward steadily, and it is overall simple to understand. That said, it is not without its own faults. The plot starts out great but becomes full of usual secret agent thriller clichés. Also, the plot becomes very campy, not to mention unbelievable, in its third act. The third act is also where there are the most plot holes – notable plot holes at that.
If you can shut your brain off for a couple hours, you can enjoy “Total Recall”. The film is pretty to look at and is absolutely packed with action sequences. All of the action sequences are well shot, well paced, and entertaining. The actors all do great with what they are given; but the problem is that they are not given much. They are all fairly flat characters, but are all satisfactory for the service of the plot – a plot that is well paced and understandable, but one that becomes campy, ridiculous, and peppered with notable plot holes. It is not as tightly written and directed to be a great secret agent thriller, and not as inspired to be a great science fiction story. The original was exceptional in its setting construction – pulling the audience into the amazingly designed Paul Verhoeven world. It was full of comedy and thrills, thought and design. As it stands, the moments that could really go far in establishing a passionate soul-filled, inspired world are instead spent on making quick references to those vary moments from the original. It could have established its own voice, its own heart and soul, but it just settles on being your clichéd average science fiction blockbuster.
The premise follows the original in only a rough sense. Sometime in the future, the world has been left mostly uninhabitable due to a deadly chemical war across the globe. Humanity has been left to residing in the only remaining habitable landmasses – Western Europe and “The Colony”, the latter being modern-day Australia. Because air travel is now impossible, the only travel between the landmasses is through a massive elevator called “The Fall” that cuts through the center of the Earth. Douglas Quaid (Colin Farrell) is a factory worker who works in Europe but lives in “The Colony” with his wife, Lori (Kate Beckinstale). His chronic nightmares lead him to become interested in the “Rekall” service – a machine that can implant memories into customers. His interest will lead him on a wild journey with Melina (Jessica Biel) to learn about his true self as well as secrets of Cohaagen’s (Bryan Cranston) tyrannical administration.
The problems of the film really start with the premise. While I enjoy the creativity of something like “The Fall”, it is simply too ridiculous to take seriously. They deserve credit for coming up with a relatively unknown science fiction concept, but an elevator that travels through the center of the Earth? Peoples’ suspension of disbelief can only be pushed so far. It serves a practical purpose in the plot – to create the conflict between “The Colony” and the mainland and between the government and the Resistance. Yet, too much time is spent trying to introduce this concept and make it seem plausible than the film should. It honestly seems easier to just use the original film’s conflict between settings – Mars and Earth. I have to ask, what makes an elevator between two lands more contemporary of an idea than a conflict between colonial Mars and Earth. This is especially true considering recent news that a Mars colony might be seen in our lifetimes.
The other problems are more literary. Colin Farrell’s Douglas Quaid is portrayed very well throughout the film, and he manages to make the character satisfactory in the emotional portrayal of a man with a confused past and an insane situation. But even then, I have to say Arnold’s original portrayal seemed overall more human. The problem with Colin Farrell’s character is a mixture of performance and writing in his introduction. It is hard to believe him as someone so distraught over his nightmares that he absolutely feels compelled to go to Rekall. If they spent more time exploring his inner demons and how they are bringing his life down, then he would have been a much more compelling character. As it stands, he just goes through the motions of a protagonist. All of the other characters are the same way. Kate Beckinstale’s villainous Lori and Jessica Biel’s Melina are fairly shallow characters. They are not bad at their roles but that is all they, unfortunately, are: roles. Like Quaid, they just go through the motions, playing their part as clichéd character archetypes. Bryan Cranston is always awesome in any role, but in this he is not given much to work with. All he ends up being is just an evil tyrant with a megalomaniacal plot – with very little reason or background.
Those issues said, there are many things that do work. The pacing is good throughout, with no moments feeling awkward. The art design is exceptional, and there are no moments in the film that are boring to look at. To its credit, almost every scene is full of beautiful science-fiction design. The only complaint in this area is that some of the action scenes feel very cluttered due to the overall noise of The Colony’s design. The plot moves forward steadily, and it is overall simple to understand. That said, it is not without its own faults. The plot starts out great but becomes full of usual secret agent thriller clichés. Also, the plot becomes very campy, not to mention unbelievable, in its third act. The third act is also where there are the most plot holes – notable plot holes at that.
If you can shut your brain off for a couple hours, you can enjoy “Total Recall”. The film is pretty to look at and is absolutely packed with action sequences. All of the action sequences are well shot, well paced, and entertaining. The actors all do great with what they are given; but the problem is that they are not given much. They are all fairly flat characters, but are all satisfactory for the service of the plot – a plot that is well paced and understandable, but one that becomes campy, ridiculous, and peppered with notable plot holes. It is not as tightly written and directed to be a great secret agent thriller, and not as inspired to be a great science fiction story. The original was exceptional in its setting construction – pulling the audience into the amazingly designed Paul Verhoeven world. It was full of comedy and thrills, thought and design. As it stands, the moments that could really go far in establishing a passionate soul-filled, inspired world are instead spent on making quick references to those vary moments from the original. It could have established its own voice, its own heart and soul, but it just settles on being your clichéd average science fiction blockbuster.
Hazel (1853 KP) rated Jane Steele in Books
May 24, 2017
Classic Retelling
This eBook was provided by the author in exchange for an honest review
“Reader, I murdered him.” Jane Steele is a gothic retelling of the renowned Jane Eyre written by the celebrated Charlotte Bronte. Crime writer, Lyndsay Faye, creates an entirely new story, whilst appropriating the skeletal structure of the original classic. However, Jane Steele is nothing like the Miss Eyre everyone is familiar with. She is far more headstrong and independent, and also a murderer.
Before readers are discouraged to hear that their beloved Jane is portrayed as a criminal, the murders that occur are more of a homicidal or self-defense nature, as opposed to premeditated serial killing. In fact the first death, occurring when she is a nine year old orphan, is not her fault at all, however it prompts Jane’s wealthy aunt to pack her off to boarding school, and thus the similarities with Jane Eyre commence.
Written in an autobiographical manner, Jane describes her years at the virulent school, where she and the other girls experience abuse at the hands of the ignoble schoolmaster. As readers will recall, Eyre’s life improves in her later school years, however Jane Steele’s education comes to a premature end, resulting in her fending for herself in 19th century London.
As the blurb indicates, Jane returns to the house she grew up in after the death of her aunt, affecting to be a governess for the current owner’s ward. Mr. Charles Thornfield, a bachelor, is Jane Steele’s version of Rochester, minus the wife in the attic. The contents of the cellar, on the other hand, are a different matter…
From a romantic point of view, all happens in a similar manner to Jane Eyre, however this is where the comparisons end. With concealed crimes and secrets, as well as an unsolved murder, the story becomes the thriller it initially proposed to be. The incisive Jane Steele takes matters into her own hands – figuratively and literally – as she determines to resolve the unanswered questions.
Although not written with the intent to be comical, the stark contrasts between original and retelling create humorous scenarios. The nature of the main character in comparison with the time frame, a period where women had very little rights, makes the narrative far more exciting and amusing than the earlier novel – although not necessarily better.
Lyndsay Faye maintains the atmosphere of the 1800s with her affinity for eloquent turns of phrase and choice of words. She is a prolific author full of wonderful ideas; her ability to create a new story out of a well-known classic is a formidable skill. What is admirable is they way in which Faye has made Jane Steele a novel in its own right, and not merely a rip-off of Bronte’s work.
The skillful composition and wording will likely be loved by all, its only downfall being the reaction of hardcore Jane Eyre fans. Those who wish for the classics to be left alone and not pulled apart by contemporary authors or film directors may adopt a negative attitude towards to publication of Jane Steele. On the other hand, many will absolutely love this gothic retelling, appreciate the similarities and enjoy the new twist to the storyline. Personally, I am with the latter group.
“Reader, I murdered him.” Jane Steele is a gothic retelling of the renowned Jane Eyre written by the celebrated Charlotte Bronte. Crime writer, Lyndsay Faye, creates an entirely new story, whilst appropriating the skeletal structure of the original classic. However, Jane Steele is nothing like the Miss Eyre everyone is familiar with. She is far more headstrong and independent, and also a murderer.
Before readers are discouraged to hear that their beloved Jane is portrayed as a criminal, the murders that occur are more of a homicidal or self-defense nature, as opposed to premeditated serial killing. In fact the first death, occurring when she is a nine year old orphan, is not her fault at all, however it prompts Jane’s wealthy aunt to pack her off to boarding school, and thus the similarities with Jane Eyre commence.
Written in an autobiographical manner, Jane describes her years at the virulent school, where she and the other girls experience abuse at the hands of the ignoble schoolmaster. As readers will recall, Eyre’s life improves in her later school years, however Jane Steele’s education comes to a premature end, resulting in her fending for herself in 19th century London.
As the blurb indicates, Jane returns to the house she grew up in after the death of her aunt, affecting to be a governess for the current owner’s ward. Mr. Charles Thornfield, a bachelor, is Jane Steele’s version of Rochester, minus the wife in the attic. The contents of the cellar, on the other hand, are a different matter…
From a romantic point of view, all happens in a similar manner to Jane Eyre, however this is where the comparisons end. With concealed crimes and secrets, as well as an unsolved murder, the story becomes the thriller it initially proposed to be. The incisive Jane Steele takes matters into her own hands – figuratively and literally – as she determines to resolve the unanswered questions.
Although not written with the intent to be comical, the stark contrasts between original and retelling create humorous scenarios. The nature of the main character in comparison with the time frame, a period where women had very little rights, makes the narrative far more exciting and amusing than the earlier novel – although not necessarily better.
Lyndsay Faye maintains the atmosphere of the 1800s with her affinity for eloquent turns of phrase and choice of words. She is a prolific author full of wonderful ideas; her ability to create a new story out of a well-known classic is a formidable skill. What is admirable is they way in which Faye has made Jane Steele a novel in its own right, and not merely a rip-off of Bronte’s work.
The skillful composition and wording will likely be loved by all, its only downfall being the reaction of hardcore Jane Eyre fans. Those who wish for the classics to be left alone and not pulled apart by contemporary authors or film directors may adopt a negative attitude towards to publication of Jane Steele. On the other hand, many will absolutely love this gothic retelling, appreciate the similarities and enjoy the new twist to the storyline. Personally, I am with the latter group.
Hazel (1853 KP) rated This Secret We're Keeping in Books
May 25, 2017
Well-Written
I received this book for free through Goodreads First Reads.
A pupil and a teacher. Is it ever right to break the rules? This is the dilemma which debut author Rebecca Done basis her novel on. This Secret We’re Keeping is set seventeen years after a maths teacher began an inappropriate relationship with a schoolgirl; but did he really deserve what happened to him, after all he loved her and she loved him?
Jess has never got over her love for the teacher she ran away with when she was fifteen. Although she has got her life together: living in Norfolk, freelance catering business, a rich boyfriend; she cannot help but think back to way Mr. Landley, Matthew, made her feel. Suddenly, after a chance encounter, Matthew is back in her life with a new name, Will, and a girlfriend and daughter. Delighted to see each other again, it is not long before they fall back into their illicit affair, however the potential consequences are almost as bad as the previous time.
This Secret We’re Keeping causes the reader to question strong personal beliefs, primarily whether a teacher-student relationship is as wrong as it sounds. If certain events in this novel were to be made public through the media, the majority would instantly hate Matthew, deem him a paedophile, and be satisfied with his punishment. However on reading the situation from his point of view, initial opinions begin to crumble. It appears he genuinely loved Jess, and she him; there were no abusive occurrences, and it was Jess that instigated the relationship in the first place. Did Matthew truly deserve to go to prison for something that would have been legal in a year’s time?
Matthew/Will’s narrative helps to show that it is virtually impossible to pinpoint a single moment that changes a life forever. At which point did he know that he had stepped over the line from right to wrong? In hindsight it is fairly obvious, but at the time the warning signs are not so clear.
Due to the challenging of preset judgments, This Secret We’re Keeping can often be difficult to read. Whilst on the one hand logic will be screaming, “This is wrong!” Done plays with her readers’ sentimentalities to consider the other side of the argument. As the novel progresses it becomes easier to fall in line with Jess and Matthew/Will’s viewpoints, however a brief interaction towards the end forces readers to temporarily reconsider their forgone conclusion. After all, how much can a first person narrative really be trusted?
Having read the blurb I admit I was a bit wary about reading this book. For one, it falls under the genre of Chick Lit, which I am not all that fond of, but secondly the book’s theme appeared rather controversial. On the whole, This Secret We’re Keeping was much better than I was anticipating, however I began to lose interest towards the end as nothing much had changed throughout the present day chapters, and it was already obvious how the past narrative would pan out. The ending is also frustratingly ambiguous, as we never find out whether either of the key characters gets a “happy ever after.”
If you are someone who enjoys Chick Lit, do not let the themes of the book put you off. This Secret We’re Keeping is essentially a romance story, one that is written remarkably well for a first time author. Rebecca Done will be a name to look out for in the world of contemporary literature.
A pupil and a teacher. Is it ever right to break the rules? This is the dilemma which debut author Rebecca Done basis her novel on. This Secret We’re Keeping is set seventeen years after a maths teacher began an inappropriate relationship with a schoolgirl; but did he really deserve what happened to him, after all he loved her and she loved him?
Jess has never got over her love for the teacher she ran away with when she was fifteen. Although she has got her life together: living in Norfolk, freelance catering business, a rich boyfriend; she cannot help but think back to way Mr. Landley, Matthew, made her feel. Suddenly, after a chance encounter, Matthew is back in her life with a new name, Will, and a girlfriend and daughter. Delighted to see each other again, it is not long before they fall back into their illicit affair, however the potential consequences are almost as bad as the previous time.
This Secret We’re Keeping causes the reader to question strong personal beliefs, primarily whether a teacher-student relationship is as wrong as it sounds. If certain events in this novel were to be made public through the media, the majority would instantly hate Matthew, deem him a paedophile, and be satisfied with his punishment. However on reading the situation from his point of view, initial opinions begin to crumble. It appears he genuinely loved Jess, and she him; there were no abusive occurrences, and it was Jess that instigated the relationship in the first place. Did Matthew truly deserve to go to prison for something that would have been legal in a year’s time?
Matthew/Will’s narrative helps to show that it is virtually impossible to pinpoint a single moment that changes a life forever. At which point did he know that he had stepped over the line from right to wrong? In hindsight it is fairly obvious, but at the time the warning signs are not so clear.
Due to the challenging of preset judgments, This Secret We’re Keeping can often be difficult to read. Whilst on the one hand logic will be screaming, “This is wrong!” Done plays with her readers’ sentimentalities to consider the other side of the argument. As the novel progresses it becomes easier to fall in line with Jess and Matthew/Will’s viewpoints, however a brief interaction towards the end forces readers to temporarily reconsider their forgone conclusion. After all, how much can a first person narrative really be trusted?
Having read the blurb I admit I was a bit wary about reading this book. For one, it falls under the genre of Chick Lit, which I am not all that fond of, but secondly the book’s theme appeared rather controversial. On the whole, This Secret We’re Keeping was much better than I was anticipating, however I began to lose interest towards the end as nothing much had changed throughout the present day chapters, and it was already obvious how the past narrative would pan out. The ending is also frustratingly ambiguous, as we never find out whether either of the key characters gets a “happy ever after.”
If you are someone who enjoys Chick Lit, do not let the themes of the book put you off. This Secret We’re Keeping is essentially a romance story, one that is written remarkably well for a first time author. Rebecca Done will be a name to look out for in the world of contemporary literature.
Hazel (1853 KP) rated Movies Are Prayers in Books
Jun 18, 2017
An Interesting Perspective
This eBook was provided by the publisher via NetGalley in exchange for an honest review
Subtitled How Films Voice Our Deepest Longings, film critic and committed Christian, Josh Larsen, writes Movies Are Prayers to explain his perspective that films are one of our ways of communicating with God. Films, or movies as they are oftentimes referred to in this book, can be many things from a form of escapism to historical information and artistic expression, but as Larsen maintains, they can also be prayers.
“Movies are our way of telling God what we think about this world and our place in it.” Apart from those based on Biblical characters or Christian messages, films are not usually a deliberate attempt at speaking to God. What Larsen is suggesting is that God can be found in places you would not expect – the cinema, for instance. Prayer is a human instinct, even for those who have no religious ties. We are forever asking “why am I here?” or “why me?” alongside feelings of gratitude and love for our positive experiences in life.
Josh Larsen explores several expressions of prayer, including the tenets of the Lord’s Prayer, to examine numerous films from popular classics to contemporary Disney. Beginning with wonder at the natural world (Avatar, Into The Wild), positive forms of prayer are identified in well-known cinematography, such as reconciliation (Where the Wild Things Are), meditation (Bambi), joy (Top Hat, and most musicals) and confession (Toy Story, Trainwreck). But Larsen does not stop there, he goes on to use examples of emotions that many may not consider forms of prayer: anger (Fight Club, The Piano) and lament (12 Years a Slave, Godzilla).
To back up his theory, Josh Larsen relates film sequences with Bible passages, for example, the prayers of David and Job. He likens the ending of Children of Men with the Christmas story and identifies the worshipping of false gods with Wizard of Oz. Larsen also suggests the obedience of the main character in It’s a Wonderful Life reflects the experiences of Jonah.
As well as Biblical theory, Larsen refers to citations from other respected Christian writers on the matter of prayer, challenging preconceived notions of both the religious and the atheist. Despite the fact Movies Are Prayers is heavily steeped in religious connotations, it may appeal to film buffs who wish to delve deeper into the hidden meanings of films.
Although the examples in this book are mostly well-known titles, it is unlikely that readers will have watched all the films. Helpfully, Josh Larsen provides details and descriptions of the scenes he has chosen to focus on so that even if you are not familiar with the story, it is possible to understand the author’s perspective. Having said that, Movies Are Prayers contains a lot of spoilers.
Everyone has their own personal view on Christian theory and prayer, so Movies Are Prayers can only be treated as an idea rather than gospel. However, Josh Larsen has developed an interesting theory that makes you think more about the ways we can communicate with God, even when we may not have deliberately chosen to. Being easy to read and not overly long (200 pages), Movies Are Prayers is the ideal book for film-loving Christians.
Subtitled How Films Voice Our Deepest Longings, film critic and committed Christian, Josh Larsen, writes Movies Are Prayers to explain his perspective that films are one of our ways of communicating with God. Films, or movies as they are oftentimes referred to in this book, can be many things from a form of escapism to historical information and artistic expression, but as Larsen maintains, they can also be prayers.
“Movies are our way of telling God what we think about this world and our place in it.” Apart from those based on Biblical characters or Christian messages, films are not usually a deliberate attempt at speaking to God. What Larsen is suggesting is that God can be found in places you would not expect – the cinema, for instance. Prayer is a human instinct, even for those who have no religious ties. We are forever asking “why am I here?” or “why me?” alongside feelings of gratitude and love for our positive experiences in life.
Josh Larsen explores several expressions of prayer, including the tenets of the Lord’s Prayer, to examine numerous films from popular classics to contemporary Disney. Beginning with wonder at the natural world (Avatar, Into The Wild), positive forms of prayer are identified in well-known cinematography, such as reconciliation (Where the Wild Things Are), meditation (Bambi), joy (Top Hat, and most musicals) and confession (Toy Story, Trainwreck). But Larsen does not stop there, he goes on to use examples of emotions that many may not consider forms of prayer: anger (Fight Club, The Piano) and lament (12 Years a Slave, Godzilla).
To back up his theory, Josh Larsen relates film sequences with Bible passages, for example, the prayers of David and Job. He likens the ending of Children of Men with the Christmas story and identifies the worshipping of false gods with Wizard of Oz. Larsen also suggests the obedience of the main character in It’s a Wonderful Life reflects the experiences of Jonah.
As well as Biblical theory, Larsen refers to citations from other respected Christian writers on the matter of prayer, challenging preconceived notions of both the religious and the atheist. Despite the fact Movies Are Prayers is heavily steeped in religious connotations, it may appeal to film buffs who wish to delve deeper into the hidden meanings of films.
Although the examples in this book are mostly well-known titles, it is unlikely that readers will have watched all the films. Helpfully, Josh Larsen provides details and descriptions of the scenes he has chosen to focus on so that even if you are not familiar with the story, it is possible to understand the author’s perspective. Having said that, Movies Are Prayers contains a lot of spoilers.
Everyone has their own personal view on Christian theory and prayer, so Movies Are Prayers can only be treated as an idea rather than gospel. However, Josh Larsen has developed an interesting theory that makes you think more about the ways we can communicate with God, even when we may not have deliberately chosen to. Being easy to read and not overly long (200 pages), Movies Are Prayers is the ideal book for film-loving Christians.
Hazel (1853 KP) rated And Then We Ran in Books
Jun 23, 2017
Drastic Decision Making
I received this book for free through Goodreads First Reads.
Have you ever felt so desperate to achieve your dreams that you would do anything, no matter how crazy, to reach them? Seventeen-year-old Megan dreams of becoming a professional photographer, however, her parents have other ideas. And Then We Ran by Katy Cannon is a Young Adult novel about learning to be yourself and realising your dreams.
Megan’s older sister died in a terrible accident the year before she completed her A Levels. Now, Megan is at the same stage and is fed up of trying to live up to her sister’s memory. Forced to study subjects she does not care for and pressurised into applying to Oxbridge, Megan feels she only has one option left. Her grandmother’s will stipulates that on her 21st birthday or when she gets married, a little flat in London will become hers. Unable to wait another four years, Megan decides marriage is the only way forward.
Two characters narrate And Then We Ran, the second being an old friend of Megan’s. Elliott has given up all hope of going to university to study archaeology and no longer has any ambitions for the future. Then, Megan approaches him with a proposal that could change his life forever. If Elliott agrees to elope with her to Gretna Green, he could live with her in London and study at UCL. So, with a new future developing before their eyes, the two coalesce and begin to develop their clandestine plan.
Naturally, it is not a simple procedure; they cannot get married on the spur of the moment. Careful planning and a long month later, they are ready to go ahead with their plan, however, things outside of their control seem intent on preventing their marriage. From delayed trains to inclement weather, Megan and Elliott determinedly carry on until, after a more circuitous route, they arrive at their destination. But, that does not necessarily result in their happy ever after.
Getting married for a chance at freedom seems a rather peculiar idea, however, you have to appreciate how determined they are to achieve their dreams. Applying to university is a decision that can alter your entire future, so it is understandable how angry Megan feels that her parents are dictating where she goes and what she studies. And The We Ran is an encouraging book that shows two teenagers seriously contemplating their future and making decisions that will make them happy, rather than doing what everyone else expects.
Although it is a fun story, Megan is not the most relatable character. To begin with, it is hard to connect with her outgoing personality, unlike Elliott who is more reserved and introverted. But, once the story gets going, Megan’s façade begins to slip, revealing that she is not much different from other teenagers with hopes and dreams for the future.
And Then We Ran is not the most realistic of contemporary stories, but it is enjoyable and makes us as readers question the methods of Megan and Elliott’s journey to freedom. Most significantly, it highlights the importance of learning and being who you are, rather than whom other people want you to be. Finally, this story emphasises that there are more than one way of achieving your dreams.
Have you ever felt so desperate to achieve your dreams that you would do anything, no matter how crazy, to reach them? Seventeen-year-old Megan dreams of becoming a professional photographer, however, her parents have other ideas. And Then We Ran by Katy Cannon is a Young Adult novel about learning to be yourself and realising your dreams.
Megan’s older sister died in a terrible accident the year before she completed her A Levels. Now, Megan is at the same stage and is fed up of trying to live up to her sister’s memory. Forced to study subjects she does not care for and pressurised into applying to Oxbridge, Megan feels she only has one option left. Her grandmother’s will stipulates that on her 21st birthday or when she gets married, a little flat in London will become hers. Unable to wait another four years, Megan decides marriage is the only way forward.
Two characters narrate And Then We Ran, the second being an old friend of Megan’s. Elliott has given up all hope of going to university to study archaeology and no longer has any ambitions for the future. Then, Megan approaches him with a proposal that could change his life forever. If Elliott agrees to elope with her to Gretna Green, he could live with her in London and study at UCL. So, with a new future developing before their eyes, the two coalesce and begin to develop their clandestine plan.
Naturally, it is not a simple procedure; they cannot get married on the spur of the moment. Careful planning and a long month later, they are ready to go ahead with their plan, however, things outside of their control seem intent on preventing their marriage. From delayed trains to inclement weather, Megan and Elliott determinedly carry on until, after a more circuitous route, they arrive at their destination. But, that does not necessarily result in their happy ever after.
Getting married for a chance at freedom seems a rather peculiar idea, however, you have to appreciate how determined they are to achieve their dreams. Applying to university is a decision that can alter your entire future, so it is understandable how angry Megan feels that her parents are dictating where she goes and what she studies. And The We Ran is an encouraging book that shows two teenagers seriously contemplating their future and making decisions that will make them happy, rather than doing what everyone else expects.
Although it is a fun story, Megan is not the most relatable character. To begin with, it is hard to connect with her outgoing personality, unlike Elliott who is more reserved and introverted. But, once the story gets going, Megan’s façade begins to slip, revealing that she is not much different from other teenagers with hopes and dreams for the future.
And Then We Ran is not the most realistic of contemporary stories, but it is enjoyable and makes us as readers question the methods of Megan and Elliott’s journey to freedom. Most significantly, it highlights the importance of learning and being who you are, rather than whom other people want you to be. Finally, this story emphasises that there are more than one way of achieving your dreams.
Kara Skinner (332 KP) rated A Gift of Ghosts in Books
Jun 11, 2019
Genre: Contemporary, Paranormal
My rating: 4 out of 5 stars
Goodreads Rating: 4.01 out of 5 stars
Page Count: 190 pages
One little paragraph about spirit energy ruined Akira’s career as an academic professor. Now she has two options: get a job at General Directions, a mysterious company in Florida that wants to interview her for some reason, or teach high school physics.
She’d rather work in Hell than teach high school physics.
Luckily, General Directions offers her a job that includes a salary increase and also the freedom to research whatever she wants as long as she signs a two-year contract.
What she doesn’t know is they don’t want her for her scientific research. They want her because she sees ghosts. Her boss, Zane, and the company’s CEO (and Zane’s dad), Max, want her to contact Zane’s mother and nephew, who passed, but may still be in the ghost world.
Now Akira is living in a town full of psychics where she has a haunted car and a haunted house– luckily, only friendly spirits. Her boss, Zane, is more of a friend than a manager. Which is all right with her, because she can’t help but be incredibly attracted to him.
But when Akira finds out that Zane’s mother has turned into an evil spirit, tensions rise. How can she make Zane understand that she can’t talk to his mother because the mother might kill Akira in the process?
This book was incredibly good. Way better than I was expecting, especially after I realized that Zane was going to be Akira’s boss. Normally I don’t like boss-employee romances because it feels icky. But Zane really didn’t manage Akira at all, and was a boss in name only. Not only that, but Akira seduced Zane, which was a refreshing change of pace.
Zane and Akira were both incredibly sexy and complemented each other so well. I loved the two of them together and the way Zane desired to protect her while also respecting her ability to protect herself was amazing.
The entire town, which is an homage to Eureka, was adorable and pulled me right into the world. I also really liked all the ghosts Akira encountered. They were complex enough to feel like real people even though they were for the most part side characters.
The ghostlore was intriguing as well and I enjoyed watching the discoveries Akira made about the afterlife as the story unfolded. Despite being able to see ghosts her entire life, her knowledge about ghosts was limited because of her overprotective father who forbade her to talk to ghosts or think of them as anything other than leftover energy.
The climax was satisfying for the most part. However, for a few minutes, Zane doubted that Akira could see ghosts, which was really weird. For most of the book, he didn’t doubt her ability at all, especially after testing her ability to see ghosts many times. But suddenly he doubts it? His reasoning for it didn’t fly for me and it was pretty annoying. But once he shook off his out-of-character skepticism, I was enjoying the story again.
The only other problem I had in the book was towards the beginning where there were a few random formatting marks visible. Not enough to really mess with the story, but it was a little distracting nevertheless.
But overall, this was an awesome, slightly spooky romance that’s perfect for October.
My rating: 4 out of 5 stars
Goodreads Rating: 4.01 out of 5 stars
Page Count: 190 pages
One little paragraph about spirit energy ruined Akira’s career as an academic professor. Now she has two options: get a job at General Directions, a mysterious company in Florida that wants to interview her for some reason, or teach high school physics.
She’d rather work in Hell than teach high school physics.
Luckily, General Directions offers her a job that includes a salary increase and also the freedom to research whatever she wants as long as she signs a two-year contract.
What she doesn’t know is they don’t want her for her scientific research. They want her because she sees ghosts. Her boss, Zane, and the company’s CEO (and Zane’s dad), Max, want her to contact Zane’s mother and nephew, who passed, but may still be in the ghost world.
Now Akira is living in a town full of psychics where she has a haunted car and a haunted house– luckily, only friendly spirits. Her boss, Zane, is more of a friend than a manager. Which is all right with her, because she can’t help but be incredibly attracted to him.
But when Akira finds out that Zane’s mother has turned into an evil spirit, tensions rise. How can she make Zane understand that she can’t talk to his mother because the mother might kill Akira in the process?
This book was incredibly good. Way better than I was expecting, especially after I realized that Zane was going to be Akira’s boss. Normally I don’t like boss-employee romances because it feels icky. But Zane really didn’t manage Akira at all, and was a boss in name only. Not only that, but Akira seduced Zane, which was a refreshing change of pace.
Zane and Akira were both incredibly sexy and complemented each other so well. I loved the two of them together and the way Zane desired to protect her while also respecting her ability to protect herself was amazing.
The entire town, which is an homage to Eureka, was adorable and pulled me right into the world. I also really liked all the ghosts Akira encountered. They were complex enough to feel like real people even though they were for the most part side characters.
The ghostlore was intriguing as well and I enjoyed watching the discoveries Akira made about the afterlife as the story unfolded. Despite being able to see ghosts her entire life, her knowledge about ghosts was limited because of her overprotective father who forbade her to talk to ghosts or think of them as anything other than leftover energy.
The climax was satisfying for the most part. However, for a few minutes, Zane doubted that Akira could see ghosts, which was really weird. For most of the book, he didn’t doubt her ability at all, especially after testing her ability to see ghosts many times. But suddenly he doubts it? His reasoning for it didn’t fly for me and it was pretty annoying. But once he shook off his out-of-character skepticism, I was enjoying the story again.
The only other problem I had in the book was towards the beginning where there were a few random formatting marks visible. Not enough to really mess with the story, but it was a little distracting nevertheless.
But overall, this was an awesome, slightly spooky romance that’s perfect for October.
Maribeth is an overworked mother of four-year-old twins: busy dividing her time as an editor of a magazine, mothering her twins, and taking care of her household. But Maribeth is so busy she doesn't even realize she's had a heart attack. Once out of the hospital, Maribeth is shocked to realize that her mother and husband seem clueless when it comes to taking care of her (and in many ways, the household). Maribeth feels overwhelmed and frustrated. Angry at her husband, Jason, she packs a bag and flees her husband and the twins, basically starting her life over in another city. Once there, Maribeth makes new friends and starts a search for her own birth mother. But obviously she has left behind unresolved issues in New York, such as her husband and family. (Minor issue, right?)
Wow, this is quite a book, and honestly, I'm still processing some of my feelings about it. I've previously read two of Forman's YA novels (both of which I enjoyed), but this was my first time reading her foray into general fiction. For me, this book really hit home, considering I am an overworked mother of four-year-old twins, who juggles work and motherhood much like Maribeth. Lucky for me, my spouse isn't clueless like Maribeth's husband (in fact: she's lovely). I also don't have a mother who is basically totally worthless; I mean, seriously, how pathetic is Maribeth's mom? Can these people not help the woman mere weeks after she's had a freaking heart attack? The whole episode where Meredith's kids have lice and her spouse and mother flake on her had me completely stressed out.
In fact, there were honestly times reading this book that I felt my own heart hurting, both from Forman's realistic description of Maribeth's cardiac attack, as well as from the stressful scenario she's in. Forman does an excellent job of conveying the pressure Maribeth is under and the frustration she feels in her life--overwhelmed, alone, trapped, desperate. What mother hasn't felt that way at some point, and truly, what mother hasn't wanted to run away at times?
My issue with this book is that Maribeth actually does run away. It's really hard to believe she'd actually leave her kids - not for a week or two - but for a good chunk of time (and taking a sizable chunk of her family's savings with her). But, while I really didn't agree with all of her choices (they didn't truly seem realistic), I have to admit, I found myself liking the book in spite of them. The life Maribeth creates for herself away from her family is unique and readable, and her world away is compelling. My only beef: should a woman really have to leave for her spouse to appreciate all she does? I am not totally sure I agree with the message.
Overall, this book is different. It's not your typical contemporary fiction, but it's certainly worth reading. 3.5 stars (and leaves you thinking).
I received a copy of this novel from the publisher and Edelweiss (thank you!); it is available everywhere as of 9/6.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/justacatandbook">Twitter</a>;
Wow, this is quite a book, and honestly, I'm still processing some of my feelings about it. I've previously read two of Forman's YA novels (both of which I enjoyed), but this was my first time reading her foray into general fiction. For me, this book really hit home, considering I am an overworked mother of four-year-old twins, who juggles work and motherhood much like Maribeth. Lucky for me, my spouse isn't clueless like Maribeth's husband (in fact: she's lovely). I also don't have a mother who is basically totally worthless; I mean, seriously, how pathetic is Maribeth's mom? Can these people not help the woman mere weeks after she's had a freaking heart attack? The whole episode where Meredith's kids have lice and her spouse and mother flake on her had me completely stressed out.
In fact, there were honestly times reading this book that I felt my own heart hurting, both from Forman's realistic description of Maribeth's cardiac attack, as well as from the stressful scenario she's in. Forman does an excellent job of conveying the pressure Maribeth is under and the frustration she feels in her life--overwhelmed, alone, trapped, desperate. What mother hasn't felt that way at some point, and truly, what mother hasn't wanted to run away at times?
My issue with this book is that Maribeth actually does run away. It's really hard to believe she'd actually leave her kids - not for a week or two - but for a good chunk of time (and taking a sizable chunk of her family's savings with her). But, while I really didn't agree with all of her choices (they didn't truly seem realistic), I have to admit, I found myself liking the book in spite of them. The life Maribeth creates for herself away from her family is unique and readable, and her world away is compelling. My only beef: should a woman really have to leave for her spouse to appreciate all she does? I am not totally sure I agree with the message.
Overall, this book is different. It's not your typical contemporary fiction, but it's certainly worth reading. 3.5 stars (and leaves you thinking).
I received a copy of this novel from the publisher and Edelweiss (thank you!); it is available everywhere as of 9/6.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/justacatandbook">Twitter</a>;