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Jamie (131 KP) rated The Shining Girls in Books
Jun 4, 2017
Ambitious & unique story line (1 more)
Handles the web of time paradoxes well
Mash-up of genres is disjointing (2 more)
Romance is distracting at best
Repeated murder scenes gets wearisome
A cool time travel thriller
The Shining Girls follows Harper, a crude serial killer from the 1930’s that can hop through time; and Kirby, the spunky young woman that got away. This book was incredibly ambitious in its premise and I spent a great deal of my time reading the book wondering if it could deliver and I can happily say that I wasn’t disappointed.
The story is a heavily character driven dive through recent American history, from the Great Depression in the 1930’s all the way up to the early 1990’s. I was impressed by the amount of research that was put into this book, each decade having enough detail to get a good feel for the era. Many of the characters were pretty well fleshed out for such short chapters, and I found myself liking many of them.
My favorite part of the story, though, was the tragedy that was Harper because of how very flawed and human he is. He views himself as commanding, charming, persuasive, but to many of his victims he’s just downright creepy. He thinks himself calculating yet he makes mistakes left and right. He has a drive to rise up from the trenches of poverty and starvation from his own era, to be powerful. His choice of victims are all women in a great act of femicide, because he has this dire need to feel masculine. He chooses women that he views as invincible, that shine with ambition in order to assert his dominance by snuffing them out. He thinks he has this divine purpose, a destiny to fulfill because he wants it so desperately, even though the reality is that it’s simply senseless violence with no real meaning. He obsesses over the murders, returning to the scene of the crimes over and over to get off. Harper is pathetic. It was a refreshing change from the stereotypical smooth, genius archetype that glorifies killers. I didn’t know right away that this book was meant to be a feminist novel, but that’s what I took away from not only Harper’s struggle with masculinity, but with the strong and fiercely independent female characters all throughout the book.
There were a couple of problems with the book, however, that I feel need to be addressed. The mash up of genres is both a good and bad aspect of the story. The middle chapters where romance comes into play to me was really distracting and feels out of place. The tagline describing the novel also states that “the girl who wouldn’t die hunts the killer who shouldn’t exist” but honestly, it didn’t feel much like Kirby was really hunting the killer. Looking for connections with other murder cases and investigating some wild hunches, yes, but really she spends most of the book developing her bond with Dan. I would have really liked for this to be more of a cat and mouse type of hunt between Kirby and Harper.
The chapters with Harper were much more interesting, but even those became a little repetitive. We as the reader follow Harper as he stalks his victims in childhood, waiting for the right time to strike when they reach adulthood. While it was necessary for the plot to detail the characters to both connect them to the greater chain of paradoxes and to show Harper’s descent, the violence is excessive and extremely detailed, and after a while it started to feel more like torture porn. It just got tiring after a while.
Despite its flaws, I thought this book was good, and I mean really good. I loved the way that the time paradoxes were handled, time travel stories tend to be tricky and usually end up with a couple of glaring loop holes. The loops are handled in a way that I found satisfying and this book is easily my favorite time travel novel I’ve ever read. It is truly unique and a story I won’t soon forget.
The story is a heavily character driven dive through recent American history, from the Great Depression in the 1930’s all the way up to the early 1990’s. I was impressed by the amount of research that was put into this book, each decade having enough detail to get a good feel for the era. Many of the characters were pretty well fleshed out for such short chapters, and I found myself liking many of them.
My favorite part of the story, though, was the tragedy that was Harper because of how very flawed and human he is. He views himself as commanding, charming, persuasive, but to many of his victims he’s just downright creepy. He thinks himself calculating yet he makes mistakes left and right. He has a drive to rise up from the trenches of poverty and starvation from his own era, to be powerful. His choice of victims are all women in a great act of femicide, because he has this dire need to feel masculine. He chooses women that he views as invincible, that shine with ambition in order to assert his dominance by snuffing them out. He thinks he has this divine purpose, a destiny to fulfill because he wants it so desperately, even though the reality is that it’s simply senseless violence with no real meaning. He obsesses over the murders, returning to the scene of the crimes over and over to get off. Harper is pathetic. It was a refreshing change from the stereotypical smooth, genius archetype that glorifies killers. I didn’t know right away that this book was meant to be a feminist novel, but that’s what I took away from not only Harper’s struggle with masculinity, but with the strong and fiercely independent female characters all throughout the book.
There were a couple of problems with the book, however, that I feel need to be addressed. The mash up of genres is both a good and bad aspect of the story. The middle chapters where romance comes into play to me was really distracting and feels out of place. The tagline describing the novel also states that “the girl who wouldn’t die hunts the killer who shouldn’t exist” but honestly, it didn’t feel much like Kirby was really hunting the killer. Looking for connections with other murder cases and investigating some wild hunches, yes, but really she spends most of the book developing her bond with Dan. I would have really liked for this to be more of a cat and mouse type of hunt between Kirby and Harper.
The chapters with Harper were much more interesting, but even those became a little repetitive. We as the reader follow Harper as he stalks his victims in childhood, waiting for the right time to strike when they reach adulthood. While it was necessary for the plot to detail the characters to both connect them to the greater chain of paradoxes and to show Harper’s descent, the violence is excessive and extremely detailed, and after a while it started to feel more like torture porn. It just got tiring after a while.
Despite its flaws, I thought this book was good, and I mean really good. I loved the way that the time paradoxes were handled, time travel stories tend to be tricky and usually end up with a couple of glaring loop holes. The loops are handled in a way that I found satisfying and this book is easily my favorite time travel novel I’ve ever read. It is truly unique and a story I won’t soon forget.
Kara Skinner (332 KP) rated A Whispered Wish in Books
Jun 11, 2019
Zoe hates camping. She loves air conditioning and staying indoors and cozy, but when her friends and boyfriend drag her out into the middle of the woods, she comes along. But things get even more complicated when she wakes up far away from her tent– as a pixie.
Can she become human again with the help of Prince Crispin, a handsome pixie? Or as feelings grow between them, will she even want to go back to her human life?
I decided to give A Whispered Wish a shot thanks to a ridiculous one-star review on Smashwords, written by someone who hadn’t read past the first two lines. But the novel was so cringeworthy, I almost sympathized with that asshole reviewer.
Just reading the novel was a toilsome task, thanks to the obvious typos and grammatical errors infecting the text, not to mention the random tense changes that yanked me out of the story every other page.
But even if I’d been able to be absorbed into the story, there wouldn’t have been anything to be absorbed into. Nothing freaking happens for two thirds of the book!
The beginning involves flimsy world-building and back story and preaching about how humans are horrible and they “can learn a thing or two from the pixies.” That line appears not once, but twice in a book meant to be read by adults, not five-year-olds.
This would be more tolerable if it was the pixies saying this to Zoe, who, as a human, defended herself and humankind. But instead, it was Zoe who instantly accepted that she and all other humans, including her friends and boyfriend, was hellspawn.
She accepts that humans are monsters about two minutes after realizing she turned into a pixie when she asks the other pixies if she can tell her human friends what’s happening.
“is there a way that we can let them know? Please? I can’t let them keep looking for me. They will be so worried,” tears still flowing. Only now, she can’t stop them.
Fionna pops up beside them, “I’m sorry Zoë, but we just can’t. To let them know that we exist is very dangerous for us.”
“You have to understand,” Brigid said, “they will exterminate us just to find out what makes us what we are.” Zoë knows they are right about this, anything new or something they didn’t understand as humans they dissected or destroyed.
A Whispered Wish, page 30
Are her friends effing Nazis? I can’t think of another reason for why she would have so little faith in them. I’m not saying they should tell the press, but maybe Zoe’s best friends and her motherfreaking boyfriend won’t kill her just because she sprouted wings and shrank to two inches.
Conflict doesn’t flare up until two thirds into the book, and even then, the conflict is more like brief sparks instead of a raging fire. There are a few action scenes, but the action was over so fast, I had to reread them to actually process them happening.
The main conflict between two pixie kingdoms feels more like an afterthought than an actual plotline.
All of a sudden, the pixies stop being this shining beacon of superiority and start being savage and warlike. Prince Crispin and his friends, who have never seen battle before, become expert fighters the second war is declared. It’s contrived and borderline absurd, but that’s fine because the final battle is over in like two pages.
Perhaps A Whispered Wish could have snatched a third star from me with the skin of its teeth if the characters had good chemistry, funny dialogue, or even an ounce of personality, but no.
All the men are strong, athletic, and ready to save the females while making sexist jokes about how women take forever shopping. The women are all kind, girly, and able to manipulate the men with their puppy eyes.
The two most interesting characters are the Queen of Devonshire, and Jaxxon, a defect from Pembrokeshire, and they only have a couple of scenes. Everyone else absurdly boring.
So, A Whispered Wish is a solid two-star read. With some heavy editing and revising, it could have been good, but as is, it’s less interesting than the average hospital waiting room. A Whispered Wish is free on Smashwords.
Can she become human again with the help of Prince Crispin, a handsome pixie? Or as feelings grow between them, will she even want to go back to her human life?
I decided to give A Whispered Wish a shot thanks to a ridiculous one-star review on Smashwords, written by someone who hadn’t read past the first two lines. But the novel was so cringeworthy, I almost sympathized with that asshole reviewer.
Just reading the novel was a toilsome task, thanks to the obvious typos and grammatical errors infecting the text, not to mention the random tense changes that yanked me out of the story every other page.
But even if I’d been able to be absorbed into the story, there wouldn’t have been anything to be absorbed into. Nothing freaking happens for two thirds of the book!
The beginning involves flimsy world-building and back story and preaching about how humans are horrible and they “can learn a thing or two from the pixies.” That line appears not once, but twice in a book meant to be read by adults, not five-year-olds.
This would be more tolerable if it was the pixies saying this to Zoe, who, as a human, defended herself and humankind. But instead, it was Zoe who instantly accepted that she and all other humans, including her friends and boyfriend, was hellspawn.
She accepts that humans are monsters about two minutes after realizing she turned into a pixie when she asks the other pixies if she can tell her human friends what’s happening.
“is there a way that we can let them know? Please? I can’t let them keep looking for me. They will be so worried,” tears still flowing. Only now, she can’t stop them.
Fionna pops up beside them, “I’m sorry Zoë, but we just can’t. To let them know that we exist is very dangerous for us.”
“You have to understand,” Brigid said, “they will exterminate us just to find out what makes us what we are.” Zoë knows they are right about this, anything new or something they didn’t understand as humans they dissected or destroyed.
A Whispered Wish, page 30
Are her friends effing Nazis? I can’t think of another reason for why she would have so little faith in them. I’m not saying they should tell the press, but maybe Zoe’s best friends and her motherfreaking boyfriend won’t kill her just because she sprouted wings and shrank to two inches.
Conflict doesn’t flare up until two thirds into the book, and even then, the conflict is more like brief sparks instead of a raging fire. There are a few action scenes, but the action was over so fast, I had to reread them to actually process them happening.
The main conflict between two pixie kingdoms feels more like an afterthought than an actual plotline.
All of a sudden, the pixies stop being this shining beacon of superiority and start being savage and warlike. Prince Crispin and his friends, who have never seen battle before, become expert fighters the second war is declared. It’s contrived and borderline absurd, but that’s fine because the final battle is over in like two pages.
Perhaps A Whispered Wish could have snatched a third star from me with the skin of its teeth if the characters had good chemistry, funny dialogue, or even an ounce of personality, but no.
All the men are strong, athletic, and ready to save the females while making sexist jokes about how women take forever shopping. The women are all kind, girly, and able to manipulate the men with their puppy eyes.
The two most interesting characters are the Queen of Devonshire, and Jaxxon, a defect from Pembrokeshire, and they only have a couple of scenes. Everyone else absurdly boring.
So, A Whispered Wish is a solid two-star read. With some heavy editing and revising, it could have been good, but as is, it’s less interesting than the average hospital waiting room. A Whispered Wish is free on Smashwords.
Cyn Armistead (14 KP) rated Mindhealer (The Watchers, #5) in Books
Mar 1, 2018
<p>I'm actually reviewing all five of the Watcher books. They're quite short—novella length, really—and very much interrelated (especially the first four). I read all of them in about a day and a half, despite doing other things. I do advise taking them all in row, which is the equivalent of reading one "normal" novel.</p>
<p>
<a target="_blank" href="http://www.goodreads.com/book/show/268186.Dark_Watcher">Dark Watcher</a> opens in Santiago City (aka Saint City), with a quartet of witches. Mindhealer is the only book that takes place outside of Santiago City, which seems to be the primary setting for all of Saintcrow's novels (from what I've read in the descriptions). </p>
<p>
Theodora, earth witch and healer, runs the Cauldron, an occult book and supply store. Mariamne Niege (water witch, prognosticator) and Elise Nicholson (fire witch) work for her in addition to being, respectively, a graduate student and a musician. Suzanne (air witch, I don't believe we ever learn her last name) is Elise's foster mother and their teacher, something of a high priestess to the little group.</p>
<p>The four women know that they're psychic and that "magick" is real. They don't know that they are "Lightbringers," that there are groups and creatures in the world that hunt them, or that a group called Circle Lightfall trains and sends out "Watchers" to protect (and recruit) Lightbringers in order to counterbalance the darkness in the world.
</p>
<p>Watchers are formerly wicked men with some psychic talents who have been given a chance to redeem themselves. They are bonded with a tanak, a dark symbiote that gives them supernatural speed, strength, healing power, and longevity. The tanak also makes it possible for them to sense darkness, but it causes the Watchers to experience pain whenever they're around Lightbringers.
</p>
<p>The catch is that for every Watcher, there is one Witch whose presence and touch will be intensely pleasurable instead of torturous. The hope of finding that one witch is what keeps each Watcher going, fighting and surviving horrific wounds for one chance at happiness.
</p>
<p>The use of the tired soulmate meme (though that specific word is never used) is annoying, and it detracts from what is otherwise a fairly original concept. The fact that there are only male Watchers, though there are a few (mostly queer) male lightbringers, is a bigger disappointment. The reasoning given is that women do not have the viciousness to kill without hesitation. That's simplistic, at best. Male lightbringers are also painted as weaker than females, and that, in combination with the pedestal upon which Watchers place Lightbringers, unbalances the novels.
</p>
<p>Theodora is the main subject of the first book. Mariamne is the focus of <a target="_blank" href="http://www.goodreads.com/book/show/268188.Storm_Watcher">Storm Watcher</a>. <a target="_blank" href="http://www.goodreads.com/book/show/268189.Fire_Watcher">Fire Watcher</a>, of course, is primarily about Elise. We meet a new air witch, Anya Harris, in <a target="_blank" href="http://www.goodreads.com/book/show/268190.Cloud_Watcher">Cloud Watcher</a>. And finally, Mindhealer is about Caro Robbins, whose brother plays a small part in Fire Watcher.
</p>
<p>The books should certainly be classified as romances first, although they do have very strong paranormal themes. Every book follows the classic romance novel formula. The fact that I kept reading despite my dislike of romances is a testament to Saintcrow's talent.
</p>
<p>I suspect that the author either is pagan, or is very familiar with pagan practices. The rituals in each novel are nicely done, and I wouldn't be surprised to hear people using some of the invocations used in Circle.</p>
<p>I do have to propose the Watcher drinking game. Take a shot every time there's any mention of treating a Watcher "dreadfully," and every time a Watcher moans about how unworthy he is to be in the presence of a Lightbringer. You'll be past noticing any formulae in no time!</p>
<p>
<a target="_blank" href="http://www.goodreads.com/book/show/268186.Dark_Watcher">Dark Watcher</a> opens in Santiago City (aka Saint City), with a quartet of witches. Mindhealer is the only book that takes place outside of Santiago City, which seems to be the primary setting for all of Saintcrow's novels (from what I've read in the descriptions). </p>
<p>
Theodora, earth witch and healer, runs the Cauldron, an occult book and supply store. Mariamne Niege (water witch, prognosticator) and Elise Nicholson (fire witch) work for her in addition to being, respectively, a graduate student and a musician. Suzanne (air witch, I don't believe we ever learn her last name) is Elise's foster mother and their teacher, something of a high priestess to the little group.</p>
<p>The four women know that they're psychic and that "magick" is real. They don't know that they are "Lightbringers," that there are groups and creatures in the world that hunt them, or that a group called Circle Lightfall trains and sends out "Watchers" to protect (and recruit) Lightbringers in order to counterbalance the darkness in the world.
</p>
<p>Watchers are formerly wicked men with some psychic talents who have been given a chance to redeem themselves. They are bonded with a tanak, a dark symbiote that gives them supernatural speed, strength, healing power, and longevity. The tanak also makes it possible for them to sense darkness, but it causes the Watchers to experience pain whenever they're around Lightbringers.
</p>
<p>The catch is that for every Watcher, there is one Witch whose presence and touch will be intensely pleasurable instead of torturous. The hope of finding that one witch is what keeps each Watcher going, fighting and surviving horrific wounds for one chance at happiness.
</p>
<p>The use of the tired soulmate meme (though that specific word is never used) is annoying, and it detracts from what is otherwise a fairly original concept. The fact that there are only male Watchers, though there are a few (mostly queer) male lightbringers, is a bigger disappointment. The reasoning given is that women do not have the viciousness to kill without hesitation. That's simplistic, at best. Male lightbringers are also painted as weaker than females, and that, in combination with the pedestal upon which Watchers place Lightbringers, unbalances the novels.
</p>
<p>Theodora is the main subject of the first book. Mariamne is the focus of <a target="_blank" href="http://www.goodreads.com/book/show/268188.Storm_Watcher">Storm Watcher</a>. <a target="_blank" href="http://www.goodreads.com/book/show/268189.Fire_Watcher">Fire Watcher</a>, of course, is primarily about Elise. We meet a new air witch, Anya Harris, in <a target="_blank" href="http://www.goodreads.com/book/show/268190.Cloud_Watcher">Cloud Watcher</a>. And finally, Mindhealer is about Caro Robbins, whose brother plays a small part in Fire Watcher.
</p>
<p>The books should certainly be classified as romances first, although they do have very strong paranormal themes. Every book follows the classic romance novel formula. The fact that I kept reading despite my dislike of romances is a testament to Saintcrow's talent.
</p>
<p>I suspect that the author either is pagan, or is very familiar with pagan practices. The rituals in each novel are nicely done, and I wouldn't be surprised to hear people using some of the invocations used in Circle.</p>
<p>I do have to propose the Watcher drinking game. Take a shot every time there's any mention of treating a Watcher "dreadfully," and every time a Watcher moans about how unworthy he is to be in the presence of a Lightbringer. You'll be past noticing any formulae in no time!</p>
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Goddess in the Stacks (553 KP) rated Into the Drowning Deep: Rolling in the Deep Book 1 in Books
Mar 29, 2018
WOW. I don't typically read horror, but this was fantasy horror, and WOW. I picked up the novella precursor to this sometime last year - I never reviewed it here, probably because it was barely over 100 pages, but it was fascinating and haunting all the same. Rolling in the Deep told the story of the Atargatis, a ship sent out to the Mariana Trench to stage a mockumentary - supposedly looking for mermaids, but equipped with actors who could swim with mermaid tails. They never planned to find anything. Except they did. And they all died. One by one at first, a few people picked off, then the entire ship swarmed and eaten. The reader sees this happen, but to anyone not on the ship, the only thing they find is some footage on an abandoned ship.
Into the Drowning Deep fast forwards a few years; the production company, Imagine Network, is not doing so well, and they want to prove that the footage wasn't a hoax. So they assemble a new mission, this one with a lot more security. (Though they still picked security with an eye for what would look good on TV, rather than what would be effective, which was a poor choice.) The reader, of course, knows that the mermaids are real, and that they are dangerous, so you spend much of the first part of the book in a state of suspense waiting for them to show up. (I actually thought it took a little too long for them to finally show up, but the time was used for character-building.)
The book is very Lovecraftian, actually - from the strong, building sense of foreboding doom to the creatures that should not exist, to the kind of gibbering insanity near the end. It's probably why I liked the book so much; Lovecraft is about the only kind of horror writing I like, and I get the same feeling from Grant's writing.
So yes, the book is about mermaids. But these aren't mermaids as you've seen them before. They're not cute, they're not seductive, they don't want to live on land, and they're definitely not friendly. These mermaids are predators. Intelligent predators, but predators. And humans, apparently, are delicious.
Most of the characters in the book are scientists trying to prove mermaids exist, so there's a lot of science happening aboard the ship, and Grant doesn't shy away from it happening on the page as well. She also includes a pair of deaf scientist twins, and their interpreter sibling, which is important because the mermaids use a form of sign language as well. Most of the main characters are women, which is also great to see in such a large concentration of fictional scientists.
If you like fantasy horror, i.e. Lovecraft, you should definitely pick this up. Rolling in the Deep is also worth reading first - I think it definitely adds another layer to the sense of foreboding doom.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Into the Drowning Deep fast forwards a few years; the production company, Imagine Network, is not doing so well, and they want to prove that the footage wasn't a hoax. So they assemble a new mission, this one with a lot more security. (Though they still picked security with an eye for what would look good on TV, rather than what would be effective, which was a poor choice.) The reader, of course, knows that the mermaids are real, and that they are dangerous, so you spend much of the first part of the book in a state of suspense waiting for them to show up. (I actually thought it took a little too long for them to finally show up, but the time was used for character-building.)
The book is very Lovecraftian, actually - from the strong, building sense of foreboding doom to the creatures that should not exist, to the kind of gibbering insanity near the end. It's probably why I liked the book so much; Lovecraft is about the only kind of horror writing I like, and I get the same feeling from Grant's writing.
So yes, the book is about mermaids. But these aren't mermaids as you've seen them before. They're not cute, they're not seductive, they don't want to live on land, and they're definitely not friendly. These mermaids are predators. Intelligent predators, but predators. And humans, apparently, are delicious.
Most of the characters in the book are scientists trying to prove mermaids exist, so there's a lot of science happening aboard the ship, and Grant doesn't shy away from it happening on the page as well. She also includes a pair of deaf scientist twins, and their interpreter sibling, which is important because the mermaids use a form of sign language as well. Most of the main characters are women, which is also great to see in such a large concentration of fictional scientists.
If you like fantasy horror, i.e. Lovecraft, you should definitely pick this up. Rolling in the Deep is also worth reading first - I think it definitely adds another layer to the sense of foreboding doom.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Phil Leader (619 KP) rated The Moonstone in Books
Nov 20, 2019
Of all the books I had to read at school, The Moonstone was probably the only novel I really enjoyed. It is one of the first 'whodunnit' type of books and, remarkably, it manages to hit virtually every requirement of the genre dead centre. If this book was written today, it would still be a classic.
The Moonstone of the title is a rare yellow diamond, stolen from an Indian shrine by colonialists. Thought to be unlucky it is left to the young Rachel Verinder. The night after her 18th birthday party the stone is stolen from her rooms, and the rest of the novel describes how the various players eventually manage to solve the crime.
The plot features twists and turns galore, false trails and red herrings enough for two detective stories. Although the crime involved is 'only' theft rather than the more usual murder it is no less engaging as a story. The characters are well drawn and - social reformer that Collins was - there are strong women and intelligent and interesting servants as well as the landed gentry and philanthropists that inhabit the world of country estates in the mid 19th century that the novel is set in.
One feature of the book is that the story is told from the viewpoint of a number of the players. Firstly (and for nearly half the book) we are introduced to the Verinders and the theft by Gabriel Betteredge, a long serving family retainer who is head of the staff and a sort of de facto butler. Betteredge's narrative is charming and witty, full of dry asides and observations. His habit of picking passages from Robinson Crusoe and applying them to daily life is a quirk that is completely in keeping with his character.
Once the story moves to London, the narrative is taken up by various other characters, sometimes just for a short journal entry, sometimes for extended periods of time. Collins imbues each of these parts with a different voice really skillfully, keeping each character very separate.
The solution to the mystery of who stole the diamond and why is convoluted but also very simple. The whole story is well crafted and fits together really well.
The only negative points really are those imposed on Collins by the time he was writing this. There is an overlong introduction about the diamond in India (it seems that in Victorian novels the long winded introduction is somehow expected by the reader) and the pace slows somewhat in London as there is a lot of description about the character's social standings and financial affairs that just aren't as relevant today.
Nevertheless this really is as good a book as I remember. I certainly rate Collins a lot higher than Charles Dickens as a writer. Definitely recommended for anyone who likes a detective mystery which will keep the reader guessing until the very end.
The Moonstone of the title is a rare yellow diamond, stolen from an Indian shrine by colonialists. Thought to be unlucky it is left to the young Rachel Verinder. The night after her 18th birthday party the stone is stolen from her rooms, and the rest of the novel describes how the various players eventually manage to solve the crime.
The plot features twists and turns galore, false trails and red herrings enough for two detective stories. Although the crime involved is 'only' theft rather than the more usual murder it is no less engaging as a story. The characters are well drawn and - social reformer that Collins was - there are strong women and intelligent and interesting servants as well as the landed gentry and philanthropists that inhabit the world of country estates in the mid 19th century that the novel is set in.
One feature of the book is that the story is told from the viewpoint of a number of the players. Firstly (and for nearly half the book) we are introduced to the Verinders and the theft by Gabriel Betteredge, a long serving family retainer who is head of the staff and a sort of de facto butler. Betteredge's narrative is charming and witty, full of dry asides and observations. His habit of picking passages from Robinson Crusoe and applying them to daily life is a quirk that is completely in keeping with his character.
Once the story moves to London, the narrative is taken up by various other characters, sometimes just for a short journal entry, sometimes for extended periods of time. Collins imbues each of these parts with a different voice really skillfully, keeping each character very separate.
The solution to the mystery of who stole the diamond and why is convoluted but also very simple. The whole story is well crafted and fits together really well.
The only negative points really are those imposed on Collins by the time he was writing this. There is an overlong introduction about the diamond in India (it seems that in Victorian novels the long winded introduction is somehow expected by the reader) and the pace slows somewhat in London as there is a lot of description about the character's social standings and financial affairs that just aren't as relevant today.
Nevertheless this really is as good a book as I remember. I certainly rate Collins a lot higher than Charles Dickens as a writer. Definitely recommended for anyone who likes a detective mystery which will keep the reader guessing until the very end.
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Jesters_folly (230 KP) rated Embodiment of Evil (2008) in Movies
May 31, 2020
Embodiment of Evil
Embodiment of Evil is the third film of the Brazilian ‘Coffin Joe’ trilogy, following after ‘At Midnight I’ll take your soul’ and ‘This night I’ll Posses your corpse’. Set and filmed 40 years after ‘This night I’ll possess your corpse’ Embodiment of Evil follows the same basic plot as the previous two films, Josefel Zanatas aka Coffin Joe returns after seeming to die at the end of the previous film to continue his search for the perfect woman to help him continue his blood line.
Embodiment of Evil is probably best described as a ‘Slasher’, Coffin Joe is a man on a mission and he’s not afraid to make enemy’s and then kill them if they get in his way. There are also elements of torture in the film as Joe tests his followers, and the women he chooses to make sure they are strong enough for him.
Like the first two films, Embodiment of evil starts off slow, using the time to explain how Coffin Joe survived his death, this is done with a flashback which uses footage from the end of the 'This night I'll possess your corpse' and adding footage that looks like it was shot at the same time but never use at the time.
Once Joe's survival has been explained the film falls back into the narrative of the trilogy, aided by his hunchbacked sidekick, Bruno, Joe returns to his old job as a gravedigger and is soon making waves in the community with his (anti) religious views. Joe is also being hunted by victims and relatives of victims from the previous films but, this time Coffin Joe also has help, not only from Bruno but from four cult like followers.
As in the previous films it doesn't take long before Joe is cursed by witches and seeing ghosts blurring the line between what Coffin Joe sees as reality and fantasy.
Coffin Joe himself is an interesting character, he is arrogant, self-assured and superior. He is constantly fighting against authority and most of the normal people, all of whom he sees as weak, mainly due to their religious belief. He is driven by his own belief that 'blood' is the only purpose in life and his need to find the perfect, strongest woman to have his child is the only driving force in his life.
Embodiment of Evil is UK rated 18 and there is a good reason for this, there is blood, nudity, cannibalism, torture, (off screen) child murder and implied rape so it will be safe to say that this film is not for everybody. It is also worth noting that, even though some of of these subjects are also in the first two films, Embodiment of evil was made 40 years later so the effects and content is a lot more graphic.
Embodiment of Evil is the third film of the Brazilian ‘Coffin Joe’ trilogy, following after ‘At Midnight I’ll take your soul’ and ‘This night I’ll Posses your corpse’. Set and filmed 40 years after ‘This night I’ll possess your corpse’ Embodiment of Evil follows the same basic plot as the previous two films, Josefel Zanatas aka Coffin Joe returns after seeming to die at the end of the previous film to continue his search for the perfect woman to help him continue his blood line.
Embodiment of Evil is probably best described as a ‘Slasher’, Coffin Joe is a man on a mission and he’s not afraid to make enemy’s and then kill them if they get in his way. There are also elements of torture in the film as Joe tests his followers, and the women he chooses to make sure they are strong enough for him.
Like the first two films, Embodiment of evil starts off slow, using the time to explain how Coffin Joe survived his death, this is done with a flashback which uses footage from the end of the 'This night I'll possess your corpse' and adding footage that looks like it was shot at the same time but never use at the time.
Once Joe's survival has been explained the film falls back into the narrative of the trilogy, aided by his hunchbacked sidekick, Bruno, Joe returns to his old job as a gravedigger and is soon making waves in the community with his (anti) religious views. Joe is also being hunted by victims and relatives of victims from the previous films but, this time Coffin Joe also has help, not only from Bruno but from four cult like followers.
As in the previous films it doesn't take long before Joe is cursed by witches and seeing ghosts blurring the line between what Coffin Joe sees as reality and fantasy.
Coffin Joe himself is an interesting character, he is arrogant, self-assured and superior. He is constantly fighting against authority and most of the normal people, all of whom he sees as weak, mainly due to their religious belief. He is driven by his own belief that 'blood' is the only purpose in life and his need to find the perfect, strongest woman to have his child is the only driving force in his life.
Embodiment of Evil is UK rated 18 and there is a good reason for this, there is blood, nudity, cannibalism, torture, (off screen) child murder and implied rape so it will be safe to say that this film is not for everybody. It is also worth noting that, even though some of of these subjects are also in the first two films, Embodiment of evil was made 40 years later so the effects and content is a lot more graphic.
Ryan Hill (152 KP) rated Wonder Woman (2017) in Movies
May 18, 2019
"I can save today, you can save the world"
Remember when some trickster claiming to be a former worker from Warner Bros. wrote an open letter saying that Wonder Woman was just another mess of a DC movie, et cetera? I remember how Patty Jenkins responded to that. She tweeted: "Just wait and you'll see".
Honestly, I don't know how anyone could even consider that there was the slightest chance of this movie not being good, and I'm gonna tell you why: this is the very first big female-led superhero movie, in which the title character also happens to be the greatest female superhero in history. If you really think that Patty Jenkins, also the first woman to ever direct a superhero movie of this caliber in a industry where women barely stand any chances to get to direct major blockbusters, would let this movie be anything less than great... You've got another thing coming, mate.
Wonder Woman is a traditional, oldschool superhero movie, but the first essentially feminist one at it, and they couldn't have chosen a better setting to tell this story, or a better character to star in it. The movie's social comments are strong and constantly present, but never forced, because it is only natural: by placing Diana, a princess raised in an island of warrior women, in the middle of the reality of World War I, the absurdities of the feminine role in the world - and so many other human corruptions - automatically come to light. The way Diana reacts to this world raises a great sense of awareness, with a touch of poignant humor to it. There is a very funny subtle arc of her wanting to take out her cloak, but not being able to because her armor is "barely any clothes", hinting not only at society's sexist feminine dressing code - which is still a thing today -, but also gradually adding power to the iconography of Wonder Woman in full costume; this is Wonder Woman's much awaited debut on the big screen in a solo movie, and like Superman and Batman before her, her first appearance needed to be something incredibly striking. Patty knew that, Gal knew that, and they made it happen. Even if we already saw her in BVS, the very first time Wonder Woman walks up in full costume here is undoubtedly one of the most iconic moments in superhero cinema.
Jenkins is extremely devoted to giving Wonder Woman the iconic debut film she deserves, and she nails it - there's quite a bit of remarkable shots and set pieces that let out the same imagetic power as in Donner's Superman, Burton's Batman or even Raimi's Spider-Man, and I must highlight the No Man's Land sequence. It's my favorite part of the movie; Jenkins and Heinberg carefully work on Diana's mindset as she first witness the horrors of human war, not being able to help everyone, horses being hurt so they can move faster, a mother and a child begging for help, and it all leads up to the powerful moment of a woman crossing the land no man could cross - and Heinberg's dialogue doesn't rely on obvious statements such as "fortunately I'm a woman" (I'm looking at you, Batwoman trailer), it simply lets the image strike us, because it is powerful enough by itself, and boy did that cause some serious goosebumps.
Speaking of dialogue... It's so terrific, so well written. The exchanges between Diana and Steve Trevor are very clever and funny, but most of all natural. All the characters are also extremely likable; Allan Heinberg's writing knows that not all of them can be given deep development, but nonetheless he gives them stories, personalities and purposes, and that - plus the charismatic performances - makes them very empathetic. The villains are not as remarkable as in some of the other DCEU films, but they didn't need to be; the movie doesn't require in-depth arcs from its villains. They have a strong presence when they're in scene and a well elaborated lore, and that's everything they need.
Contrary to the Nordic mythology depicted in the MCU, here we are talking about real gods, true deities, not superpowerful aliens that only strike a similar image - and that also brings a few narrative dangers along with it, after all, it was in greek mythological stories that the concept of Deus Ex Machina first appeared. Heinberg's screenplay, though, makes a few clever twists in that mythology to avoid easy solutions, which adds to the storytelling, the world building and the developing of the themes as well. The lore surrounding the God of War Ares, for example, is not a simple Diabolus Ex Machina as "he influences men to war and if you kill him every man goes back to being good and everything's alright", no, it's more narratively complicated and socially engaging than that.
And Gal Gadot... I'm at a loss for words. I'll confess right here that when she was first announced as Wonder Woman, I was one of the few who were very opposed to that casting. I've never been so wrong in my life, and I've never been so happy about it. She really is Wonder Woman. She's so graceful and adorable, but a major badass when she needs to be. The way she moves, the way she curiously looks at things, the way she speaks, and the way she incarnates Diana's evolving from her naive beginnings to the wise warrior... She's not only an icon, she's a true hero. Comparisons to Christopher Reeve's Superman were made for good reasons.
Chris Pine is also great, he walks perfectly in the line between funny and serious, Steve Trevor is a darling character and his chemistry with Gal is on point. Their relationship is very well constructed and becomes highly emotional by the end - there are scenes that filled my heart with joy, and others that made it ache.
The action is exciting and full of originality, and I like how Jenkins uses slow-motion differently than Zack Snyder. I know that Snyder helped her direct some of the action sequences, which is understandable since Jenkins had no experience with this type of movie, but you can tell it's not the same. In the fights themselves, there's this feel of sensibility to how these people react to Diana, and it's slightly different from the typical "regular people react to superhumans among them" trope. The cinematography is very keen on portraying the difference between Themyscira - an island of colors and natural beauty - and "jolly ol' London" - desaturated and smoggy, a scenario in which Diana's colorful armor shines in a most beautiful contrast.
And the soundtrack. Rupert Gregson-Williams made a beautiful score that brings out the best in every scene. It's heroic, very heartfelt, and loyal to the foundations of what makes superhero music so memorable. Gregson-Williams adds new themes to compose Wonder Woman's musical identity, but Hans Zimmer's main theme from BVS still lives, and it plays in some heart-pounding scenes. I love that they're dedicating that much attention to the musical continuity, because amongst Marvel's many qualities, they're doing a lousy job in that area. Wonder Woman's theme is the most catchy superhero theme in a long time, it quickly gained a lot of appreciation and by continuing on using it, Gregson-Williams collaborates to making Wonder Woman the strong cinematic icon she's setting out to be.
The irregular reception of previous DCEU movies also extols the impact of Wonder Woman, as do the distinct styles between the films. One of the DCEU's biggest virtues is that singularity of each film; be it a near disaster movie epic such as Man Of Steel, a complex deconstruction of heroic values such as Batman v Superman, an stylish chaos such as Suicide Squad or a traditional, graceful superhero film such as Wonder Woman, these movies are all in the same universe, and that very fact is an example of its richness. A lot of people will think Wonder Woman is the best DCEU movie of the lot, some will stick to BVS, others to MOS, maybe for some it's Shazam, but that's the fun of it: we can discuss this forever. Each of these movies mean different things to different people, we're way past simply labelling one as "better" and the other as "worse".
Wonder Woman, however, is not simply a movie about a very strong woman. It's an achievement for every woman. There were tons of girls dressed up as Wonder Woman in the theater, and just seeing how ecstatic they were after the movie brought me joy. There were tons of applause. It's a mark. Be that as it may, Wonder Woman will be remembered as the most impactful superhero film of its time. In 1978, Superman showed to the world how a man could fly; in 2017, Wonder Woman showed to the world how a woman can fight.
Honestly, I don't know how anyone could even consider that there was the slightest chance of this movie not being good, and I'm gonna tell you why: this is the very first big female-led superhero movie, in which the title character also happens to be the greatest female superhero in history. If you really think that Patty Jenkins, also the first woman to ever direct a superhero movie of this caliber in a industry where women barely stand any chances to get to direct major blockbusters, would let this movie be anything less than great... You've got another thing coming, mate.
Wonder Woman is a traditional, oldschool superhero movie, but the first essentially feminist one at it, and they couldn't have chosen a better setting to tell this story, or a better character to star in it. The movie's social comments are strong and constantly present, but never forced, because it is only natural: by placing Diana, a princess raised in an island of warrior women, in the middle of the reality of World War I, the absurdities of the feminine role in the world - and so many other human corruptions - automatically come to light. The way Diana reacts to this world raises a great sense of awareness, with a touch of poignant humor to it. There is a very funny subtle arc of her wanting to take out her cloak, but not being able to because her armor is "barely any clothes", hinting not only at society's sexist feminine dressing code - which is still a thing today -, but also gradually adding power to the iconography of Wonder Woman in full costume; this is Wonder Woman's much awaited debut on the big screen in a solo movie, and like Superman and Batman before her, her first appearance needed to be something incredibly striking. Patty knew that, Gal knew that, and they made it happen. Even if we already saw her in BVS, the very first time Wonder Woman walks up in full costume here is undoubtedly one of the most iconic moments in superhero cinema.
Jenkins is extremely devoted to giving Wonder Woman the iconic debut film she deserves, and she nails it - there's quite a bit of remarkable shots and set pieces that let out the same imagetic power as in Donner's Superman, Burton's Batman or even Raimi's Spider-Man, and I must highlight the No Man's Land sequence. It's my favorite part of the movie; Jenkins and Heinberg carefully work on Diana's mindset as she first witness the horrors of human war, not being able to help everyone, horses being hurt so they can move faster, a mother and a child begging for help, and it all leads up to the powerful moment of a woman crossing the land no man could cross - and Heinberg's dialogue doesn't rely on obvious statements such as "fortunately I'm a woman" (I'm looking at you, Batwoman trailer), it simply lets the image strike us, because it is powerful enough by itself, and boy did that cause some serious goosebumps.
Speaking of dialogue... It's so terrific, so well written. The exchanges between Diana and Steve Trevor are very clever and funny, but most of all natural. All the characters are also extremely likable; Allan Heinberg's writing knows that not all of them can be given deep development, but nonetheless he gives them stories, personalities and purposes, and that - plus the charismatic performances - makes them very empathetic. The villains are not as remarkable as in some of the other DCEU films, but they didn't need to be; the movie doesn't require in-depth arcs from its villains. They have a strong presence when they're in scene and a well elaborated lore, and that's everything they need.
Contrary to the Nordic mythology depicted in the MCU, here we are talking about real gods, true deities, not superpowerful aliens that only strike a similar image - and that also brings a few narrative dangers along with it, after all, it was in greek mythological stories that the concept of Deus Ex Machina first appeared. Heinberg's screenplay, though, makes a few clever twists in that mythology to avoid easy solutions, which adds to the storytelling, the world building and the developing of the themes as well. The lore surrounding the God of War Ares, for example, is not a simple Diabolus Ex Machina as "he influences men to war and if you kill him every man goes back to being good and everything's alright", no, it's more narratively complicated and socially engaging than that.
And Gal Gadot... I'm at a loss for words. I'll confess right here that when she was first announced as Wonder Woman, I was one of the few who were very opposed to that casting. I've never been so wrong in my life, and I've never been so happy about it. She really is Wonder Woman. She's so graceful and adorable, but a major badass when she needs to be. The way she moves, the way she curiously looks at things, the way she speaks, and the way she incarnates Diana's evolving from her naive beginnings to the wise warrior... She's not only an icon, she's a true hero. Comparisons to Christopher Reeve's Superman were made for good reasons.
Chris Pine is also great, he walks perfectly in the line between funny and serious, Steve Trevor is a darling character and his chemistry with Gal is on point. Their relationship is very well constructed and becomes highly emotional by the end - there are scenes that filled my heart with joy, and others that made it ache.
The action is exciting and full of originality, and I like how Jenkins uses slow-motion differently than Zack Snyder. I know that Snyder helped her direct some of the action sequences, which is understandable since Jenkins had no experience with this type of movie, but you can tell it's not the same. In the fights themselves, there's this feel of sensibility to how these people react to Diana, and it's slightly different from the typical "regular people react to superhumans among them" trope. The cinematography is very keen on portraying the difference between Themyscira - an island of colors and natural beauty - and "jolly ol' London" - desaturated and smoggy, a scenario in which Diana's colorful armor shines in a most beautiful contrast.
And the soundtrack. Rupert Gregson-Williams made a beautiful score that brings out the best in every scene. It's heroic, very heartfelt, and loyal to the foundations of what makes superhero music so memorable. Gregson-Williams adds new themes to compose Wonder Woman's musical identity, but Hans Zimmer's main theme from BVS still lives, and it plays in some heart-pounding scenes. I love that they're dedicating that much attention to the musical continuity, because amongst Marvel's many qualities, they're doing a lousy job in that area. Wonder Woman's theme is the most catchy superhero theme in a long time, it quickly gained a lot of appreciation and by continuing on using it, Gregson-Williams collaborates to making Wonder Woman the strong cinematic icon she's setting out to be.
The irregular reception of previous DCEU movies also extols the impact of Wonder Woman, as do the distinct styles between the films. One of the DCEU's biggest virtues is that singularity of each film; be it a near disaster movie epic such as Man Of Steel, a complex deconstruction of heroic values such as Batman v Superman, an stylish chaos such as Suicide Squad or a traditional, graceful superhero film such as Wonder Woman, these movies are all in the same universe, and that very fact is an example of its richness. A lot of people will think Wonder Woman is the best DCEU movie of the lot, some will stick to BVS, others to MOS, maybe for some it's Shazam, but that's the fun of it: we can discuss this forever. Each of these movies mean different things to different people, we're way past simply labelling one as "better" and the other as "worse".
Wonder Woman, however, is not simply a movie about a very strong woman. It's an achievement for every woman. There were tons of girls dressed up as Wonder Woman in the theater, and just seeing how ecstatic they were after the movie brought me joy. There were tons of applause. It's a mark. Be that as it may, Wonder Woman will be remembered as the most impactful superhero film of its time. In 1978, Superman showed to the world how a man could fly; in 2017, Wonder Woman showed to the world how a woman can fight.
Lottie disney bookworm (1056 KP) rated Mirror, Mirror in Books
Aug 16, 2019
Review by Disney Bookworm
Contains spoilers, click to show
If I’m honest I initially thought the tagline to this Snow White twisted tale novel was a massive plot spoiler but, when you are 300 pages into a book and no-one has eaten a poisoned apple, it may be the ideal opportunity to admit you were wrong. This book is not that simple!
Mirror, Mirror explores the traditional Grimm fairy tale of Snow White through the eyes of the two main characters: the Evil Queen and Snow White herself. The reader is completely under the control of these two women: finding themselves with no choice but to witness the familiar story from their perspective.
Jen Calonita’s novel is also heavily built on story telling through flashbacks. In my opinion, this is a genius idea as it provides an undeniable depth to her characters. Let’s be honest, everyone knows the story of Snow White but not everyone knows the story before Snow White and it is here where the twisted tale evolves.
Through these flashbacks we meet Katherine and Ingrid: two sisters whom have lost their mother and are being raised by their neglectful, sometimes violent, father. As a result of their upbringing, Ingrid, the elder sister, has adopted a motherly role towards her younger sister Katherine and strives to protect the innocent girl at all times. They leave home, finding work on a farm where Katherine finds her passion within the apple orchard, cultivating a new variety of apple which will later attract the attention of the King.
Ingrid however, always wants more than what she has. Older and more aware of the hardship life can bring, Ingrid is not as sweet and innocent as her sister: people do not dote on Ingrid as they do Katherine and eventually Ingrid finds that she cannot settle for a simple life- instead opting for a job in a small shop known for its association with dark magic and the home of a certain mirror.
You may have guessed by now that Ingrid is, in fact, the Evil Queen and her sister Katherine is Snow White’s mother! I know what you are thinking, I have just described how protective Ingrid was of the future Queen: surely she wouldn’t “off” her own sister and try to collect her niece’s heart in a box?
This is where the complexity of Ingrid’s character really shines through and where, (if hats suited me) I will take my hat off to Jen Calonita. Mirror Mirror takes you on a journey with Ingrid. You experience her love for her sister first-hand as well as her frustration with her sheltered life but later you also witness her lust for power and how easily Ingrid’s choices lead her down the wrong path.
I also believe that Ingrid is truly scarred by her past. She sneers upon her sister’s kindness and villainises Katherine for letting a man, and later her baby, come between them. Ingrid views herself as wiser and more intelligent than her little sister: believing that she would certainly rule the Kingdom more efficiently and not stopping until this becomes a reality.
Despite being a formidable woman, Ingrid is not devoid of vulnerabilities and, as the story progresses, the readers will witness Ingrid’s ghosts and note how one in particular never leaves her until the very end.
Of course, Ingrid’s enabler is the magic mirror. Calonita paints a picture of a mirror identical to the one we remember from the Disney 1938 classic animated film with a haunting mask dominating and manipulating The Evil Queen with every chance it gets.
The mirror creates an obsession and dependence within Ingrid that is chillingly portrayed. It is undoubtedly the real villain of the story: demanding blood from the start and weakening Ingrid until she cleaves to its will. However, we all know who is standing between the mirror and its plans for domination and undisputed power: the princess Snow White.
In the past, I have made no secret of the fact that Snow is my least favourite Disney princess. Her voice in the film grated on me and I just genuinely found her irritating. Thankfully Calonita’s Snow White is more akin to the ‘Once Upon A Time’ interpretation and so much easier to form a relationship with as a reader.
While fulfilling our expectations of being kind, innocent and prone to falling in love with conveniently handsome Princes: Mirror Mirror’s Snow White is bolder than we are used to and, as her story progresses, becomes more confident in herself as the heir to the kingdom. Her priorities are more political in nature, with a strong focus on rebuilding her kingdom and her bravery shines through almost from the very beginning. Snow does encounter challenges and dark thoughts as any person does but earns her Disney princess badge by helping true love to save the day!
Similarly, the seven dwarves are not as one-dimensional as the classic movie. They assist the Princess of course and shelter her in the forest but they also seem more street-wise (or should that be forest-wise?), squirreling away diamonds for bartering and mustering armies for Snow’s cause. There isn’t too much focus on the seven men in Mirror Mirror but I don’t think that the book is necessarily missing this. I think the characters are so well-known that too much character development would stray away from the main plot.
Mirror, Mirror is a modern adaptation of the familiar fairytale: centring itself around two very strong women in their own right but polar opposites in terms of their characters and choices in life.
The novel makes several nods to the iconic images formed in 1938 by Walt Disney such as the apple, the glass coffin and, of course, the seven dwarves. However, the recurring theme of choosing your own story and the complex backgrounds to her characters cause Jen Calonita’s novel to stand out on its own.
It may not have been the traditional “happy ever after” but this adaptation of Snow White was, in my opinion, the “fairest of them all”.
Written by The Disney Bookworm:
https://disneybookworm.home.blog
Mirror, Mirror explores the traditional Grimm fairy tale of Snow White through the eyes of the two main characters: the Evil Queen and Snow White herself. The reader is completely under the control of these two women: finding themselves with no choice but to witness the familiar story from their perspective.
Jen Calonita’s novel is also heavily built on story telling through flashbacks. In my opinion, this is a genius idea as it provides an undeniable depth to her characters. Let’s be honest, everyone knows the story of Snow White but not everyone knows the story before Snow White and it is here where the twisted tale evolves.
Through these flashbacks we meet Katherine and Ingrid: two sisters whom have lost their mother and are being raised by their neglectful, sometimes violent, father. As a result of their upbringing, Ingrid, the elder sister, has adopted a motherly role towards her younger sister Katherine and strives to protect the innocent girl at all times. They leave home, finding work on a farm where Katherine finds her passion within the apple orchard, cultivating a new variety of apple which will later attract the attention of the King.
Ingrid however, always wants more than what she has. Older and more aware of the hardship life can bring, Ingrid is not as sweet and innocent as her sister: people do not dote on Ingrid as they do Katherine and eventually Ingrid finds that she cannot settle for a simple life- instead opting for a job in a small shop known for its association with dark magic and the home of a certain mirror.
You may have guessed by now that Ingrid is, in fact, the Evil Queen and her sister Katherine is Snow White’s mother! I know what you are thinking, I have just described how protective Ingrid was of the future Queen: surely she wouldn’t “off” her own sister and try to collect her niece’s heart in a box?
This is where the complexity of Ingrid’s character really shines through and where, (if hats suited me) I will take my hat off to Jen Calonita. Mirror Mirror takes you on a journey with Ingrid. You experience her love for her sister first-hand as well as her frustration with her sheltered life but later you also witness her lust for power and how easily Ingrid’s choices lead her down the wrong path.
I also believe that Ingrid is truly scarred by her past. She sneers upon her sister’s kindness and villainises Katherine for letting a man, and later her baby, come between them. Ingrid views herself as wiser and more intelligent than her little sister: believing that she would certainly rule the Kingdom more efficiently and not stopping until this becomes a reality.
Despite being a formidable woman, Ingrid is not devoid of vulnerabilities and, as the story progresses, the readers will witness Ingrid’s ghosts and note how one in particular never leaves her until the very end.
Of course, Ingrid’s enabler is the magic mirror. Calonita paints a picture of a mirror identical to the one we remember from the Disney 1938 classic animated film with a haunting mask dominating and manipulating The Evil Queen with every chance it gets.
The mirror creates an obsession and dependence within Ingrid that is chillingly portrayed. It is undoubtedly the real villain of the story: demanding blood from the start and weakening Ingrid until she cleaves to its will. However, we all know who is standing between the mirror and its plans for domination and undisputed power: the princess Snow White.
In the past, I have made no secret of the fact that Snow is my least favourite Disney princess. Her voice in the film grated on me and I just genuinely found her irritating. Thankfully Calonita’s Snow White is more akin to the ‘Once Upon A Time’ interpretation and so much easier to form a relationship with as a reader.
While fulfilling our expectations of being kind, innocent and prone to falling in love with conveniently handsome Princes: Mirror Mirror’s Snow White is bolder than we are used to and, as her story progresses, becomes more confident in herself as the heir to the kingdom. Her priorities are more political in nature, with a strong focus on rebuilding her kingdom and her bravery shines through almost from the very beginning. Snow does encounter challenges and dark thoughts as any person does but earns her Disney princess badge by helping true love to save the day!
Similarly, the seven dwarves are not as one-dimensional as the classic movie. They assist the Princess of course and shelter her in the forest but they also seem more street-wise (or should that be forest-wise?), squirreling away diamonds for bartering and mustering armies for Snow’s cause. There isn’t too much focus on the seven men in Mirror Mirror but I don’t think that the book is necessarily missing this. I think the characters are so well-known that too much character development would stray away from the main plot.
Mirror, Mirror is a modern adaptation of the familiar fairytale: centring itself around two very strong women in their own right but polar opposites in terms of their characters and choices in life.
The novel makes several nods to the iconic images formed in 1938 by Walt Disney such as the apple, the glass coffin and, of course, the seven dwarves. However, the recurring theme of choosing your own story and the complex backgrounds to her characters cause Jen Calonita’s novel to stand out on its own.
It may not have been the traditional “happy ever after” but this adaptation of Snow White was, in my opinion, the “fairest of them all”.
Written by The Disney Bookworm:
https://disneybookworm.home.blog
