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Kristy H (1252 KP) rated The Survivor's Guide to Family Happiness in Books
Feb 13, 2018
Nina Popkin's mother has recently passed away and she's also freshly divorced. Adopted as a child, her mother's death rekindles Nina's desire to search for her birth mother. She's always felt as she's never belonged anywhere, searching strangers' faces and eyes for her potential birth mother. Amazingly, Nina manages to find her biological sister, Lindy, whom she actually knew as a kid from her neighborhood. But Lindy, who is obsessed with creating a perfect house and life, isn't too thrilled about her wayward sister bursting into her life. Lindy has three kids, a busy salon to run, and a lot of (hidden) anxiety to deal with. But Nina is force to be reckoned with and she's determined to bring Lindy on her journey to find their mother. But will this journey finally bring Nina the sense of peace and belonging she's always desired?
Dawson's novel is told from the varying points of view of its main women: Nina, Lindy, and their biological mother. It's a humorous--and sometimes heartbreaking--look at family and the different forms it can take. Dawson has created a cast of characters who seem incredibly real. She captures the little details just right, from family life with kids, to Nina's romantic woes. Nina is a trip: you can't help but love her and her relentless optimism. Even when the novel drags a bit in the middle, when you feel like Nina and the plot need a bit of a push, it recovers through its humor and Nina's personality. Perhaps the only part I found slightly weird was that Nina and Lindy's childhood neighborhood was so full of adopted children that they grew up knowing each other (though not knowing they were sisters), but perhaps that was truly par for the course for the era... who knows.
In the end, I really enjoyed this novel. It combines several other supporting characters, including the children of Nina's boyfriend, into a great read. At times it's truly laugh out loud funny, even if it gets a bit preposterous. But it's also heartfelt and touching and a lovely look at the bonds of family.
I received a copy of this novel from the publisher and Netgalley (thank you!); it is available everywhere as of 10/25/2016.
Dawson's novel is told from the varying points of view of its main women: Nina, Lindy, and their biological mother. It's a humorous--and sometimes heartbreaking--look at family and the different forms it can take. Dawson has created a cast of characters who seem incredibly real. She captures the little details just right, from family life with kids, to Nina's romantic woes. Nina is a trip: you can't help but love her and her relentless optimism. Even when the novel drags a bit in the middle, when you feel like Nina and the plot need a bit of a push, it recovers through its humor and Nina's personality. Perhaps the only part I found slightly weird was that Nina and Lindy's childhood neighborhood was so full of adopted children that they grew up knowing each other (though not knowing they were sisters), but perhaps that was truly par for the course for the era... who knows.
In the end, I really enjoyed this novel. It combines several other supporting characters, including the children of Nina's boyfriend, into a great read. At times it's truly laugh out loud funny, even if it gets a bit preposterous. But it's also heartfelt and touching and a lovely look at the bonds of family.
I received a copy of this novel from the publisher and Netgalley (thank you!); it is available everywhere as of 10/25/2016.
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Merissa (12841 KP) rated She's the One Who Can't Keep Quiet (War Stories of the Seven Troublesome Sisters #5) in Books
Feb 24, 2022 (Updated Jul 3, 2023)
SHE'S THE ONE WHO CAN'T KEEP QUIET is the fifth book in the War Stories of the Seven Troublesome Sisters series and we get Celestine's story, the twin of Olivine.
Out of all the stories so far, Celestine is the most 'normal'. She doesn't have a genius brain, isn't a luskie, doesn't have long eyes, and she isn't a warrior.. Her ability is to be social, to read a crowd, to bring them on-side, and to sing with a beautiful voice. As with the other stories, it takes place at the same time, so some of the stories overlap and situations become clear from other books, for example, with Davor accepting Coral's luskie abilities.
We also learn more about the mum in this story. We already knew the relationship with her mother-in-law had been turbulent, but now we find out even more. We find out that she was a jewellery maker in her own right but had to give it up when her daughters came along. Not only that, but the things her husband has promised her when they got married never happened to her, but to her daughters instead. That's got to hurt! Up until now, my sympathy wasn't with the mum. I thought she was 'just' an ambitious mum who wanted her children to marry well. Now, I understand more of where she was coming from. And the comment about her children becoming her jewellery was heartfelt.
The other thing (amongst many) that deserves a mention is how hard it was for Celestine and Firuza to be together, openly. Both of them were concerned with appearances, although Firuza had more reason than most to be cautious. I thought this was written in an empathetic manner, giving the two ladies the support they needed.
Although all these books cover the same timeframe, I would recommend you read them in order as you will have the best reading experience that way, reading and learning about people and situations at the right time.
A brilliant addition to a fantastic series. I really can't recommend these highly enough and can't wait for Gypsum's story to come next.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Feb 24, 2022
Out of all the stories so far, Celestine is the most 'normal'. She doesn't have a genius brain, isn't a luskie, doesn't have long eyes, and she isn't a warrior.. Her ability is to be social, to read a crowd, to bring them on-side, and to sing with a beautiful voice. As with the other stories, it takes place at the same time, so some of the stories overlap and situations become clear from other books, for example, with Davor accepting Coral's luskie abilities.
We also learn more about the mum in this story. We already knew the relationship with her mother-in-law had been turbulent, but now we find out even more. We find out that she was a jewellery maker in her own right but had to give it up when her daughters came along. Not only that, but the things her husband has promised her when they got married never happened to her, but to her daughters instead. That's got to hurt! Up until now, my sympathy wasn't with the mum. I thought she was 'just' an ambitious mum who wanted her children to marry well. Now, I understand more of where she was coming from. And the comment about her children becoming her jewellery was heartfelt.
The other thing (amongst many) that deserves a mention is how hard it was for Celestine and Firuza to be together, openly. Both of them were concerned with appearances, although Firuza had more reason than most to be cautious. I thought this was written in an empathetic manner, giving the two ladies the support they needed.
Although all these books cover the same timeframe, I would recommend you read them in order as you will have the best reading experience that way, reading and learning about people and situations at the right time.
A brilliant addition to a fantastic series. I really can't recommend these highly enough and can't wait for Gypsum's story to come next.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Feb 24, 2022
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Bob Mann (459 KP) rated The Girl With All the Gifts (2017) in Movies
Sep 29, 2021
An Adam’s Apple for Teacher.
I remember once having a ridiculous drunken dispute at a works Christmas party many year’s ago that went along the lines of “if you had the chance to save the world, but had to kill your child to do it, what would you do”. There’s a variant of this conundrum at the heart of this brilliant new film from Colm McCarthy, best know for his TV work on shows like “Peaky Blinders”, “Sherlock” and “Dr Who”.
As most people already realise, this is a ‘Zombie film’ (cue, a number of other single blokes in the cinema) and illustrates the dangers of not treating that Athlete’s Foot as soon as it appears! I would normally provide a quick synopsis here, but I really think this is a case in point where it is best to go into the film as blind as possible to the story and let it envelop you. (This includes not watching the whole trailer if possible.) To merely set the scene, we open with a morning school ritual like none you’ve seen before: children strapped to wheelchairs by heavily armed military in their cells; wheeled to an underground classroom; then made to sit in serried rows being taught by their teacher Helen Justineau (a deliciously un-made-up and natural Gemma Arterton). What IS going on? Who ARE these children? WHY are the soldiers so scared and dismissive of them?
The ever-great Paddy Considine (“Pride”) plays army Sergeant Parks (who also has a bit of a crush on Helen) and Glenn Close plays Dr Caroline Caldwell, who is studying the children in more ways than one.
This trio of stars, supported notably later in the film by Fisayo Akinade as the trooper Kieran, turn in what is a superb ensemble performance. As for Glenn Close, I have never quite been able to shake her awful “silk blouse” performance in “Air Force One” from my mind, but here she is quite memerising in the role of the Doctor on a mission: I would suggest a career best. Her final scene reflects such a complex range of emotions, and is brilliantly executed. And Gemma Arterton pulls out all the emotional stops in what is also one of the performances of the year.
But good as these performances are, they would be nothing without the central performance of young Sennia Nanua as the titular “Girl”. I have made the point before that there should be an Oscar category for “Young Actors” rather than pitch them into the adult categories like Quvenzhane Wallis and Anna Paquin were (successfully). Here in her debut feature performance Sennia is just mesmerising and (provided this film gets the recognition it justly deserves) she should be a shoe-in for the BAFTA Rising Star award next year, if not an Actress nomination. A young lady most definitely to watch.
Also assuming a starring role is Chilean-born composer Cristobal Tapia de Veer’s astonishingly effective music which drives up the tension superbly. This is his feature film debut and another name to watch.
The screenplay by Mike Carey from his original novel is beautifully crafted, with some great one liners dropped in to ease the tension a notch. And the story adds a level of emotional depth and angst that surpasses other films of this genre, at least as far back as the “28 Days” films.
Astonishingly, the film was made on a budget of 4 (FOUR!) Million Pounds, giving it a BvS quotient of 2.1%!! Every penny of that budget is up on the screen, and whilst you might like to pick at a few of the matte paintings and effects, it is a remarkably achievement in special effects (Nick Rideout is the SF supervisor) and production value.
So, its great! Go see it… but with a few caveats: it is a zombie film, and it ranks about an 8.9 on the splattometer scale, which might not be to some tastes; definitely don’t go to see it if you are pregnant (though I am constantly reminded how I took my heavily pregnant wife in 1985 to see “A really great film called ‘Alien'”); and you might want to avoid it if you are a great cat or dog lover, or indeed a pigeon-fancier. Other than that, get yourself down to a multiplex and see this great British film: surely a classic to be recognised for years to come.
As most people already realise, this is a ‘Zombie film’ (cue, a number of other single blokes in the cinema) and illustrates the dangers of not treating that Athlete’s Foot as soon as it appears! I would normally provide a quick synopsis here, but I really think this is a case in point where it is best to go into the film as blind as possible to the story and let it envelop you. (This includes not watching the whole trailer if possible.) To merely set the scene, we open with a morning school ritual like none you’ve seen before: children strapped to wheelchairs by heavily armed military in their cells; wheeled to an underground classroom; then made to sit in serried rows being taught by their teacher Helen Justineau (a deliciously un-made-up and natural Gemma Arterton). What IS going on? Who ARE these children? WHY are the soldiers so scared and dismissive of them?
The ever-great Paddy Considine (“Pride”) plays army Sergeant Parks (who also has a bit of a crush on Helen) and Glenn Close plays Dr Caroline Caldwell, who is studying the children in more ways than one.
This trio of stars, supported notably later in the film by Fisayo Akinade as the trooper Kieran, turn in what is a superb ensemble performance. As for Glenn Close, I have never quite been able to shake her awful “silk blouse” performance in “Air Force One” from my mind, but here she is quite memerising in the role of the Doctor on a mission: I would suggest a career best. Her final scene reflects such a complex range of emotions, and is brilliantly executed. And Gemma Arterton pulls out all the emotional stops in what is also one of the performances of the year.
But good as these performances are, they would be nothing without the central performance of young Sennia Nanua as the titular “Girl”. I have made the point before that there should be an Oscar category for “Young Actors” rather than pitch them into the adult categories like Quvenzhane Wallis and Anna Paquin were (successfully). Here in her debut feature performance Sennia is just mesmerising and (provided this film gets the recognition it justly deserves) she should be a shoe-in for the BAFTA Rising Star award next year, if not an Actress nomination. A young lady most definitely to watch.
Also assuming a starring role is Chilean-born composer Cristobal Tapia de Veer’s astonishingly effective music which drives up the tension superbly. This is his feature film debut and another name to watch.
The screenplay by Mike Carey from his original novel is beautifully crafted, with some great one liners dropped in to ease the tension a notch. And the story adds a level of emotional depth and angst that surpasses other films of this genre, at least as far back as the “28 Days” films.
Astonishingly, the film was made on a budget of 4 (FOUR!) Million Pounds, giving it a BvS quotient of 2.1%!! Every penny of that budget is up on the screen, and whilst you might like to pick at a few of the matte paintings and effects, it is a remarkably achievement in special effects (Nick Rideout is the SF supervisor) and production value.
So, its great! Go see it… but with a few caveats: it is a zombie film, and it ranks about an 8.9 on the splattometer scale, which might not be to some tastes; definitely don’t go to see it if you are pregnant (though I am constantly reminded how I took my heavily pregnant wife in 1985 to see “A really great film called ‘Alien'”); and you might want to avoid it if you are a great cat or dog lover, or indeed a pigeon-fancier. Other than that, get yourself down to a multiplex and see this great British film: surely a classic to be recognised for years to come.
Lee (2222 KP) rated Wild Rose (2018) in Movies
Mar 20, 2019 (Updated Mar 20, 2019)
A Star Is Born
I've talked before about how disappointed I was with 'A Star Is Born' last year. An overrated movie of two halves, with an incredible first half and a dire second half. What I wanted from that movie was the story of a girl chasing a dream, culminating in the birth of a star and an epic singing finale. That all happened in the first half though, with the second half spiraling into boring filler territory. Wild Rose tells the story of Rose-Lynn, a down on her luck, aspiring country singer with dreams of becoming a star. It more closely follows that story I was looking for than 'A Star Is Born' did and is a much better movie overall, despite remaining fairly average throughout. If you put Sheridan Smith in the lead role, this could have just as easily been shown on ITV as their latest big weeknight drama series.
Things kick off with Rose-Lynn (Jessie Buckley) being released from a year in prison where she served time for drug charges. Before anything else, she meets up with a friend to catch up on some sex before heading over to her mums house (Julie Walters). Mum has been looking after Rose-Lynn's two young kids, aged 5 and 8, for the last year and it's clear the bond between mum and children has taken a serious hit. She doesn't exactly make any effort to reconnect with her children either, pulling on her cowboy boots and heading down to Glasgows Grand Ole Opry to try and pick up the regular singing slot she held there before winding up in jail. Rose-Lynn is a huge country music fan, and has plans to head over to Nashville in order to try and become a star.
Rose-Lynn lands a day job, cleaning for a wealthy couple in their large house. The lady of the house, Susannah (Sophie Okonedo) takes a shine to Rose-Lynn and after her children hear her belting out a song while cleaning, goes out of her way to try and help her. Using her connections to get a demo video to BBC Radio 2 legend 'Whispering' Bob Harris and even landing Rose-Lynn a gig at her 50th birthday party with a view to getting her wealthy guests to help 'crowdfund' Rose-Lynn.
Rose-Lynn is not a very likeable character for much of this movie. Selfish, annoying and with questionable life choices and actions. But that's the whole idea - to manipulate our feelings towards her. She's played wonderfully by Jessie Buckley and as her character grows and learns from life, we begin to like her that little bit more too. I was worried that if she eventually did find her way to Nashville, we'd see her become this huge star and I would have felt cheated if that were the case. Without heading too much into spoiler territory, I'll just say that things don't exactly work out that way. It's an unexpected but welcome change in direction, and leads to an incredible and emotional final number.
Things kick off with Rose-Lynn (Jessie Buckley) being released from a year in prison where she served time for drug charges. Before anything else, she meets up with a friend to catch up on some sex before heading over to her mums house (Julie Walters). Mum has been looking after Rose-Lynn's two young kids, aged 5 and 8, for the last year and it's clear the bond between mum and children has taken a serious hit. She doesn't exactly make any effort to reconnect with her children either, pulling on her cowboy boots and heading down to Glasgows Grand Ole Opry to try and pick up the regular singing slot she held there before winding up in jail. Rose-Lynn is a huge country music fan, and has plans to head over to Nashville in order to try and become a star.
Rose-Lynn lands a day job, cleaning for a wealthy couple in their large house. The lady of the house, Susannah (Sophie Okonedo) takes a shine to Rose-Lynn and after her children hear her belting out a song while cleaning, goes out of her way to try and help her. Using her connections to get a demo video to BBC Radio 2 legend 'Whispering' Bob Harris and even landing Rose-Lynn a gig at her 50th birthday party with a view to getting her wealthy guests to help 'crowdfund' Rose-Lynn.
Rose-Lynn is not a very likeable character for much of this movie. Selfish, annoying and with questionable life choices and actions. But that's the whole idea - to manipulate our feelings towards her. She's played wonderfully by Jessie Buckley and as her character grows and learns from life, we begin to like her that little bit more too. I was worried that if she eventually did find her way to Nashville, we'd see her become this huge star and I would have felt cheated if that were the case. Without heading too much into spoiler territory, I'll just say that things don't exactly work out that way. It's an unexpected but welcome change in direction, and leads to an incredible and emotional final number.
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Suswatibasu (1703 KP) rated It (2017) in Movies
Jan 16, 2018 (Updated Jan 16, 2018)
Bill Skarsgard as Pennywise (1 more)
Child actors
Unlike the original, scares a little overhyped
I had a lot of expectations going in to watch this remake of a classic. But I'm a little disappointed to be honest.
Unlike the original, this film solely concentrates on the cast as they were children, and there are no scenes of them as adults replaying their pasts. However, it is apparent that there will be a second part, as the kids mention their pact to reunite if the clown ever makes another appearance. In this way, they have changed Stephen King's book, but I'm not sure if it's for the better. One of the gifts of King horrors are the actual plots and storylines that run through them. Here, it actually felt like a slightly scarier version of @Stranger Things with even an actor from the series landing one of the main roles in this film.
On the upside, there were plenty of nods to the original movie, with Tim Curry's clown making a cameo in one of the scenes. Bill Skarsgard's version was just as good as Curry's but the downside was that there was too many scenes with him making an appearance losing the scare factor. Sometimes less is more. The child actors were fantastic, and the back stories were far darker, exposing abuse in its many forms. Overall, it was an interesting watch, but it may have been overhyped.
Unlike the original, this film solely concentrates on the cast as they were children, and there are no scenes of them as adults replaying their pasts. However, it is apparent that there will be a second part, as the kids mention their pact to reunite if the clown ever makes another appearance. In this way, they have changed Stephen King's book, but I'm not sure if it's for the better. One of the gifts of King horrors are the actual plots and storylines that run through them. Here, it actually felt like a slightly scarier version of @Stranger Things with even an actor from the series landing one of the main roles in this film.
On the upside, there were plenty of nods to the original movie, with Tim Curry's clown making a cameo in one of the scenes. Bill Skarsgard's version was just as good as Curry's but the downside was that there was too many scenes with him making an appearance losing the scare factor. Sometimes less is more. The child actors were fantastic, and the back stories were far darker, exposing abuse in its many forms. Overall, it was an interesting watch, but it may have been overhyped.
ClareR (5874 KP) rated The Paper Place in Books
Oct 30, 2021
I don’t think that any synopsis written by me could do justice to The Paper Palace. It couldn’t adequately describe the many layers to this frankly magnetic book (I mean this literally - I couldn’t put it down). Who knew that a book about a family’s summer home on Cape Cod could encompass so much more. A lot happens in the Paper Palace (the summer residence of Elle Bishop and her family), both in the past and present.
This is a book of childhood trauma, terrible parenting, young love, adultery, and a horrendous secret that both ties and separates Elle from her childhood friend and first love, Jonah.
I was completely absorbed in this story that spanned all of Elle’s life up to the present day, and even let us look into the life of her mother (not an ideal childhood, either). There is a deep-seated sadness to Elle’s character, and it’s not until later in the book that we learn the reasons why.
She has a deep love and affection for her children and her husband though, and there are some really touching, humorous moments between them. And this makes the decision she has to make at the end of the book, one of the most difficult in her life.
This will be high up in my favourite books of the year (Ok, this is becoming a sizeable list), and I wouldn’t hesitate to recommend it.
This is a book of childhood trauma, terrible parenting, young love, adultery, and a horrendous secret that both ties and separates Elle from her childhood friend and first love, Jonah.
I was completely absorbed in this story that spanned all of Elle’s life up to the present day, and even let us look into the life of her mother (not an ideal childhood, either). There is a deep-seated sadness to Elle’s character, and it’s not until later in the book that we learn the reasons why.
She has a deep love and affection for her children and her husband though, and there are some really touching, humorous moments between them. And this makes the decision she has to make at the end of the book, one of the most difficult in her life.
This will be high up in my favourite books of the year (Ok, this is becoming a sizeable list), and I wouldn’t hesitate to recommend it.
Kyera (8 KP) rated Princess of Thorns in Books
Feb 1, 2018
Princess of Thorns is a not-so-classic retelling of the Sleeping Beauty story. The main character is actually the daughter of the cursed princess, who awoke from a kiss. Her name is Aurora, like the Disney movie's princess and her mother's name is Rose. In the french version of the tale, Sleeping Beauty's daughter is named Aurore. I believe that her mother's is the shortened form of Briar Rose, like German version of her tale by the Brother's Grimm. If you are familiar with the Grimm and Perrault versions of the tale, not only the Disney one, then you will notice many similarities. In a few versions of the tale, there is an evil step-mother or mother-in-law who attempts to eat the leading lady's children.
The author makes use of these characters and plots in her novel. She chooses to include the ill-fated mother, brother and sister, as well as the villainous step-mother. Although that familial tie is not explicitly stated, the King was the children's father and he married the ogre. Thus, she would be their step-mother. And you thought you had a dysfunctional family?
In true fairytale fashion, there are ogres, witches, fairies, and ruffians. Not all are portrayed as you would expect. The ogres have evolved, or perhaps devolved depending upon who you ask. In the early years, the ogres were monstrous creatures that devoured souls whole. They did not control themselves, but feasted on the entire soul leaving nothing behind. As time went on, they were forced to change and limit how much they took. After a time, the ogres began to become smaller and take on much more human-like appearances. Their food source never changed and they prided themselves upon each soul they took, marking their bare skulls.
The Fae seem human, although they possess extra-human traits and magic. One may not think of fairies and immediately imagine a human-like creature with great dexterity, skill in battle, and a lack of guilt -but the Fair Folk are shown this way in the novel. A fairy can bestow a gift upon a human child, like beauty, courage, eloquence, obedience, or strength. But each blessing comes with a curse, as the magic always finds a way to turn the gift into a burden. There are untold consequences to the blessings that cannot be avoided. As such, the fairies stopped giving their gifts to human children.
As with most fairytales, there is an element of romance. The love story blossoms under unusual circumstances and not without its share of problems. The two characters get to know each other throughout the journey, but their are many secrets left untold. As they are discovered, the relationship is altered for good or bad. And in the end, a choice must be made.
Most importantly, the novel isn't entirely predictable (although the budding romance was expected). Generally, you expect good to triumph over evil in most modern retellings of the story - unlike their Grimm counterparts. The plot's climax was frankly a little anti-climactic, but enjoyable non-the-less.
I think the author showed an average amount of character development, although I usually think more would be incredibly beneficial. Certain aspects of the world were explained, but not vividly enough. The "show-don't-tell" method could have been employed here to create a richer, more immersive world. Overall, I was pleased with the author's lexicon, grammar, and spelling - which happens much less often than should reasonably be expected.
I would certainly read another novel by this author as I love stories based upon fairytales. If you read Alex Flinn, I would highly recommend this novel to you just keep in mind it is slightly darker. Readers of fantasy, romance, and the like will enjoy this book and should give it a chance. It seems to target the female demographic, but males should enjoy it as well.
The author makes use of these characters and plots in her novel. She chooses to include the ill-fated mother, brother and sister, as well as the villainous step-mother. Although that familial tie is not explicitly stated, the King was the children's father and he married the ogre. Thus, she would be their step-mother. And you thought you had a dysfunctional family?
In true fairytale fashion, there are ogres, witches, fairies, and ruffians. Not all are portrayed as you would expect. The ogres have evolved, or perhaps devolved depending upon who you ask. In the early years, the ogres were monstrous creatures that devoured souls whole. They did not control themselves, but feasted on the entire soul leaving nothing behind. As time went on, they were forced to change and limit how much they took. After a time, the ogres began to become smaller and take on much more human-like appearances. Their food source never changed and they prided themselves upon each soul they took, marking their bare skulls.
The Fae seem human, although they possess extra-human traits and magic. One may not think of fairies and immediately imagine a human-like creature with great dexterity, skill in battle, and a lack of guilt -but the Fair Folk are shown this way in the novel. A fairy can bestow a gift upon a human child, like beauty, courage, eloquence, obedience, or strength. But each blessing comes with a curse, as the magic always finds a way to turn the gift into a burden. There are untold consequences to the blessings that cannot be avoided. As such, the fairies stopped giving their gifts to human children.
As with most fairytales, there is an element of romance. The love story blossoms under unusual circumstances and not without its share of problems. The two characters get to know each other throughout the journey, but their are many secrets left untold. As they are discovered, the relationship is altered for good or bad. And in the end, a choice must be made.
Most importantly, the novel isn't entirely predictable (although the budding romance was expected). Generally, you expect good to triumph over evil in most modern retellings of the story - unlike their Grimm counterparts. The plot's climax was frankly a little anti-climactic, but enjoyable non-the-less.
I think the author showed an average amount of character development, although I usually think more would be incredibly beneficial. Certain aspects of the world were explained, but not vividly enough. The "show-don't-tell" method could have been employed here to create a richer, more immersive world. Overall, I was pleased with the author's lexicon, grammar, and spelling - which happens much less often than should reasonably be expected.
I would certainly read another novel by this author as I love stories based upon fairytales. If you read Alex Flinn, I would highly recommend this novel to you just keep in mind it is slightly darker. Readers of fantasy, romance, and the like will enjoy this book and should give it a chance. It seems to target the female demographic, but males should enjoy it as well.