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Drakaina's Fire (Drak Defense Co. #1) by Raven Lovelace
6.0
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Daphne My existence is one of constant danger. I am the oldest, the leader of a race of immortal...
Paranormal Romance Shifters Dragons Fated Mates
Ghost Town: Mystery Match Game
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Epic journey leads you in abandoned township to help the cute local characters. Exciting plot about...
Phil Leader (619 KP) rated The Big Over Easy (Nursery Crime, #1) in Books
Nov 8, 2019
After the success of his Thursday Next books, in which the heroine can enter works of fiction and interact with the characters, Fforde dusted off a previous idea for a novel: a town where nursery rhyme characters are real. Humpty Dumpty is found in pieces at the bottom of his wall, but did he fall or was he pushed?
Investigated by detective Jack Spratt (usefully the name Jack is quite common in nursery rhymes) and his new partner Mary Mary we meet a number of characters from nursery rhymes, songs and myth and legend. As the body count rises Jack and Mary must do what all the king's horses and all the king's men couldn't, and assemble the pieces of Humpty's demise to find the culprit.
The world Fforde creates - a fictional version of the town of Reading (and strongly implied to be the same world that Thursday Next lives in, in the book-within-a-book Caversham Heights) works suprisingly well, perhaps because other than the traits inherited from their nursery rhymes the characters are otherwise conventional. So Jack can't eat any fat and is destined to sell something for beans, but at the core is a straightforward detective.
This contrasts with, say, The Hollow Chocolate Bunnies of the Apocalypse by Robert Rankin which again is a detective story populated with nursery rhyme characters (and poor Humpty is again a victim, but in a very different murder) where the setting is in Toyland so doesn't have the grounding of reality that The Big Over Easy does.
The plot itself is very complex - there are red herrings, theories and suspects galore - and Fforde enjoys playing with the reader as much as with Jack. And there is of course humour aplenty, both simple gags from the story and characters and also some good knowing winks to the reader when events mirror the characters' nursery rhymes. Above all Fforde never forgets that this is after all a detective novel.
Probably not quite as good as the Thursday Next books but definitely a good read and will entertain from the first to the last page.
Investigated by detective Jack Spratt (usefully the name Jack is quite common in nursery rhymes) and his new partner Mary Mary we meet a number of characters from nursery rhymes, songs and myth and legend. As the body count rises Jack and Mary must do what all the king's horses and all the king's men couldn't, and assemble the pieces of Humpty's demise to find the culprit.
The world Fforde creates - a fictional version of the town of Reading (and strongly implied to be the same world that Thursday Next lives in, in the book-within-a-book Caversham Heights) works suprisingly well, perhaps because other than the traits inherited from their nursery rhymes the characters are otherwise conventional. So Jack can't eat any fat and is destined to sell something for beans, but at the core is a straightforward detective.
This contrasts with, say, The Hollow Chocolate Bunnies of the Apocalypse by Robert Rankin which again is a detective story populated with nursery rhyme characters (and poor Humpty is again a victim, but in a very different murder) where the setting is in Toyland so doesn't have the grounding of reality that The Big Over Easy does.
The plot itself is very complex - there are red herrings, theories and suspects galore - and Fforde enjoys playing with the reader as much as with Jack. And there is of course humour aplenty, both simple gags from the story and characters and also some good knowing winks to the reader when events mirror the characters' nursery rhymes. Above all Fforde never forgets that this is after all a detective novel.
Probably not quite as good as the Thursday Next books but definitely a good read and will entertain from the first to the last page.
Kristy H (1252 KP) rated Hazel Bly and the Deep Blue Sea in Books
Jul 8, 2021
A beautiful story about love and loss
Hazel Bly lived a great life with her Mum and Mama until a kayaking accident. Then her Mum died, leaving Hazel with a scar on her face and terrible anxiety. She wants nothing more than to keep her little sister Peach safe. The Blys move around a lot now. Two years after the accident, they are in Maine. It turns out that one of their new neighbors is her Mama's old childhood friend, Claire. The introduction of Claire into Hazel's world--along with her chatty daughter Lemon--makes Hazel feel unsettled. Plus Lemon is fixated on a local legend, the Rose Maid, a mermaid often seen in the waters. Hazel notes a resemblance between herself and Rose and soon she finds herself as fascinated by the mermaid as Lemon. Because sometimes everyone needs to believe in a little magic, especially when their world is crumbling around them.
"Now it's two and one, with me as the odd one out."
Oh this book is excellent-- an absolutely stunning read, which captures grief and loss so viscerally. I truly felt traumatized at times on Hazel's behalf. With the death of her Mum, she is so afraid something will happen to Peach, or even her Mama, and this fear comes through the pages so strongly. It's heartbreaking. Her fear of being happy again. You just want to wrap this sweet kid in your arms and hug her until everything is okay. Blake writes Hazel so well, and her grief, passion, and emotions come across so well.
Everything in this book is amazing--the magical and whimsical myth of the Rose Maid; the diversity of the characters; and the total acceptance of Hazel's parents being gay and bi. It's not a big deal in this book for parents to be queer or friends to be nonbinary. How wonderful for a YA story.
This is an exceptional tale about family, love, loss, healing, and magic. It made me cry, but it left me hopeful too. It's touching and heartfelt. Highly recommend. 4.5 stars.
"Now it's two and one, with me as the odd one out."
Oh this book is excellent-- an absolutely stunning read, which captures grief and loss so viscerally. I truly felt traumatized at times on Hazel's behalf. With the death of her Mum, she is so afraid something will happen to Peach, or even her Mama, and this fear comes through the pages so strongly. It's heartbreaking. Her fear of being happy again. You just want to wrap this sweet kid in your arms and hug her until everything is okay. Blake writes Hazel so well, and her grief, passion, and emotions come across so well.
Everything in this book is amazing--the magical and whimsical myth of the Rose Maid; the diversity of the characters; and the total acceptance of Hazel's parents being gay and bi. It's not a big deal in this book for parents to be queer or friends to be nonbinary. How wonderful for a YA story.
This is an exceptional tale about family, love, loss, healing, and magic. It made me cry, but it left me hopeful too. It's touching and heartfelt. Highly recommend. 4.5 stars.
Jordan Binkerd (567 KP) rated The Scorpion King 3: Battle For Redemption (2012) in Movies
Oct 27, 2019
Victor Webster sells the fights (5 more)
Ron Perlman is never a bad thing.
Neither is Temura Morrison.
Billy Zane is comically evil
Krystal Vee and Selina Lo pull off their reason for being here - hot chicks kicking ass.
Nice scenery and sets
Victor Webster fails to sell being The Rock, even aside from skin ton (2 more)
The story and lore are all over the place, not helped by the setting
The Warriors of the book announcing themselves just felt silly and contrived
Muddies the franchise and lore
The longer this goes the more damage this franchise does to itself. Let's review what we've seen so far:
-The Mummy Returns: At the end of his life, the Scorpion King leads an army to take over and subjugate the world, aided by Anubis, which proves that the Egyptian gods are, you know, gods.
-The Scorpion King: Mathayus is ostensibly the last living Akkadian, and leads a revolt against an evil king who....wants to take over and subjugate the world. Some tragic irony there, knowing where he ends up.
-The Scorpion King II: Rise of a Warrior: There's a whole kingdom of Akkadians, and Mathayus leads a revolt against the general who killed both his father and the rightful King, usurping the throne. Given that just a decade or two later the entire race has been wiped out, maybe putting the rightful heir back on the throne didn't end well?
Which brings us to this movie, featuring numerous human characters with the names of the Egyptian pantheon (maybe named in homage to their gods, but it feels like the idea is that these men will be mistaken for God's by myth and legend) and doubles down on the "conquest is evil" theme. Mathayus has lost his queen and kingdom from the first film to plague, reduced to being a mercenary again. The action primarily happens in Egypt and.... Cambodia? Vietnam? Thailand? Somewhere around there, with little explanation of how the characters go that distance. This just makes the whole thing more inconsistent and convoluted. I shudder to think about the damage the next one will do....
-The Mummy Returns: At the end of his life, the Scorpion King leads an army to take over and subjugate the world, aided by Anubis, which proves that the Egyptian gods are, you know, gods.
-The Scorpion King: Mathayus is ostensibly the last living Akkadian, and leads a revolt against an evil king who....wants to take over and subjugate the world. Some tragic irony there, knowing where he ends up.
-The Scorpion King II: Rise of a Warrior: There's a whole kingdom of Akkadians, and Mathayus leads a revolt against the general who killed both his father and the rightful King, usurping the throne. Given that just a decade or two later the entire race has been wiped out, maybe putting the rightful heir back on the throne didn't end well?
Which brings us to this movie, featuring numerous human characters with the names of the Egyptian pantheon (maybe named in homage to their gods, but it feels like the idea is that these men will be mistaken for God's by myth and legend) and doubles down on the "conquest is evil" theme. Mathayus has lost his queen and kingdom from the first film to plague, reduced to being a mercenary again. The action primarily happens in Egypt and.... Cambodia? Vietnam? Thailand? Somewhere around there, with little explanation of how the characters go that distance. This just makes the whole thing more inconsistent and convoluted. I shudder to think about the damage the next one will do....
Like a Lily Among the Thorns
6.0
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There are those who are born into loving families and then there are the less fortunate who must...
Climate Fiction Speculative Fiction Fantasy
The Gunning of America: Business and the Making of American Gun Culture
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Americans have always loved guns. This special bond was forged during the American Revolution and...
Metro 2033
9.0
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The year is 2033. The world has been reduced to rubble. Humanity is nearly extinct. The...
Eilidh G Clark (177 KP) rated A Portable Shelter in Books
May 13, 2017
‘…there’s no other way to give you the truth except to hide it in a story and let you find your own way inside.’
‘…there’s no other way to give you the truth except to hide it in a story and let you find your own way inside.’
Kirsty Logan’s first collection of short stories, The Rental Heart and Other Fairytales, published by Salt in 2014, won the Polari First Book Prize in 2015. A Portable Shelter is her second collection. Set in a small cottage in the rural north coast of Scotland, Ruth and Liska are expecting their first child. The couple believe that their unborn baby will have a better chance of survival away from the harshness of suburban life. They make a pact with one another, that they will only ever tell their child the truth. Yet while Liska is asleep or Ruth is at work, each whispers secret stories to their unborn child. Delving into fantastical tales about people from their past and re-telling stories that span from generation to generation, the couple unfold the horrors of the real world. Whilst these tales, laced in myth and legend, and fattened with the magic of the imagination, demonstrate the art of oral storytelling, Logan reaches further to show the reader why storytelling is important.
While this book is primarily a collection of short stories, its novel like structure frames each story with a preceding monologue from either Ruth or Liska. The monologues offer delightful morsels of description that bring the harshness of Mother Nature into the safety of the couple’s bedroom, “right now our home is speaking to you. The walls creak their approval in the wind. The rain applauds on the roof. The lighthouse beam swoops, swoops, swoops. The tide breathes loud and slow like a giant. If you listen carefully, perhaps you can even hear the moon hum.” The pace of these sentences, combined with the delicacy of language demonstrates Logan’s skill at describing the sublime spirit of the natural world, which brings the narrative to life.
Most impressive though, is Logan’s poetic language and carefully crafted sentences which create the most beautiful imagery. In ‘Flinch,’ for example – James is a fisherman struggling with his identity, yet his affiliation with the land is locked into his first-person point of view where the reader gets to closely experience what he sees, “The sky is pinkish-grey like the insides of shells. Speckled bonxies wheel overhead. Seals loll on the rocks, fat as kings. The rising mist is cool and milky.” Any of these lines could easily be arranged into a poem and with sentences that are squeezed tight; they create a wonderful poetic rhythm. Logan uses this technique throughout her novel, demonstrating the precision and craft in her work. There are definite similarities in her writing style to fellow Scottish novelist and poet Jenni Fagan. Both authors use rich language, which is well crafted and smattered with vernacular. Furthermore, combining this with the reoccurring theme of identity, the oral storytelling tradition, landscape, folklore, and myth, it is clear to see why these authors contribute to the growing canon in Scottish literature.
This is a book that I will read over and over again because I know that in each reading, I will find something new. A Portable Shelter, I feel, deserves a place on my ‘keep’ book shelf.
A Portable Shelter, Kirsty Logan, London: Vintage, 2015
Kirsty Logan’s first collection of short stories, The Rental Heart and Other Fairytales, published by Salt in 2014, won the Polari First Book Prize in 2015. A Portable Shelter is her second collection. Set in a small cottage in the rural north coast of Scotland, Ruth and Liska are expecting their first child. The couple believe that their unborn baby will have a better chance of survival away from the harshness of suburban life. They make a pact with one another, that they will only ever tell their child the truth. Yet while Liska is asleep or Ruth is at work, each whispers secret stories to their unborn child. Delving into fantastical tales about people from their past and re-telling stories that span from generation to generation, the couple unfold the horrors of the real world. Whilst these tales, laced in myth and legend, and fattened with the magic of the imagination, demonstrate the art of oral storytelling, Logan reaches further to show the reader why storytelling is important.
While this book is primarily a collection of short stories, its novel like structure frames each story with a preceding monologue from either Ruth or Liska. The monologues offer delightful morsels of description that bring the harshness of Mother Nature into the safety of the couple’s bedroom, “right now our home is speaking to you. The walls creak their approval in the wind. The rain applauds on the roof. The lighthouse beam swoops, swoops, swoops. The tide breathes loud and slow like a giant. If you listen carefully, perhaps you can even hear the moon hum.” The pace of these sentences, combined with the delicacy of language demonstrates Logan’s skill at describing the sublime spirit of the natural world, which brings the narrative to life.
Most impressive though, is Logan’s poetic language and carefully crafted sentences which create the most beautiful imagery. In ‘Flinch,’ for example – James is a fisherman struggling with his identity, yet his affiliation with the land is locked into his first-person point of view where the reader gets to closely experience what he sees, “The sky is pinkish-grey like the insides of shells. Speckled bonxies wheel overhead. Seals loll on the rocks, fat as kings. The rising mist is cool and milky.” Any of these lines could easily be arranged into a poem and with sentences that are squeezed tight; they create a wonderful poetic rhythm. Logan uses this technique throughout her novel, demonstrating the precision and craft in her work. There are definite similarities in her writing style to fellow Scottish novelist and poet Jenni Fagan. Both authors use rich language, which is well crafted and smattered with vernacular. Furthermore, combining this with the reoccurring theme of identity, the oral storytelling tradition, landscape, folklore, and myth, it is clear to see why these authors contribute to the growing canon in Scottish literature.
This is a book that I will read over and over again because I know that in each reading, I will find something new. A Portable Shelter, I feel, deserves a place on my ‘keep’ book shelf.
A Portable Shelter, Kirsty Logan, London: Vintage, 2015
Bones: Brothers, Horses, Cartels, and the Borderland Dream
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The dramatic true story of two brothers living parallel lives on either side of the U.S.-Mexico...
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