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Cursed Objects: Strange but True Stories of the World's Most Infamous Items
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An illustrated compendium that reveals the true stories behind the most infamous, creepy, and...
Rejected Princesses: Tales of History's Boldest Heroines, Hellions, and Heretics
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Blending the iconoclastic feminism of The Notorious RBG and the confident irreverence of Go the...
Mandy and G.D. Burkhead (26 KP) rated The Grey Bastards in Books
May 20, 2018
Shelf Life – The Grey Bastards Exemplifies Grimdark Fantasy at Its Damn Finest
Contains spoilers, click to show
The Grey Bastards is a fun, foul-mouthed read. If you’re turned off by bad language, steamy sex, or a good plot with plenty of action and twists, then this book isn’t for you. The Grey Bastards falls into the fantasy sub-genre known as grimdark. Where high fantasy has your Tolkien beautiful and noble elves, dwarves, humans, and wizards with epic battles between good and evil, grimdark takes all of that and covers it in shit, pus, and blood. Notice how in high fantasy nobody ever takes a piss or fucks? In grimdark, everyone does.
But don’t be fooled into thinking this book will be any less intelligent, epic, or heartfelt for it. The Grey Bastards is all of that and more. The novel follows Jackal, a half-breed orc living in the Lot Lands, the barren desert wasteland of Hispartha. He is a Grey Bastard, one of many half-orc hoofs, each protecting its own small town in the Lots. Members of a hoof are elite warriors that ride out on their Barbarians—giant warthogs—and slaughter invading bands of orcs.
Hispartha is a vibrant world, with a mix of fantastical species (orcs, half-orcs, elves, humans, halflings, and centaurs) with unique cultures and religions. Hispartha itself takes influences from Reconquista Spain, which is especially noticeable in the nomenclature, geography, and architecture.
The primarily atheistic half-orcs recently won their freedom from slavery at the hands of humans. Humans treat the half-orcs like second-class citizens, but tolerate them because of their strength, using them as a shield from the orcs. The elves are beautiful, reclusive, and probably the most cliché; there is one important elf character, but for the most part, we don’t get a good look into their culture in the first book. The centaurs worship Romanesque deities and go on crazed, Bacchanalian killing sprees during the blood moon.
Besides the half-orcs, the halflings are perhaps the most interesting. I still have a hard time visualizing them, trying to figure out if they are thin, pixie-like creatures or more stocky like dwarves. Their small stature and black skin makes me think of pygmies. They worship a god they expect will reincarnate someday, (view spoiler)
One thing that has always annoyed me about fantasy is that many authors feel that the characters of their world, being pre-industrial and thus “medieval,” must all be white, straight, Christian (or proto-Christian), cisgender males. If a woman appears at all is to act as the damsel, prize, or, if she’s lucky, a mystical enchantress to guide the heroes or provide a maguffin. It has come to the point in which this has become a tired and accepted baseline for fantasy. I don’t necessarily think that these fantasy authors are intentionally trying to be uninclusive, so much as they just seem to forget that other groups of people can exist in fantasy thanks to its fathers, Tolkien and Lewis.
But enough with my rant, the purpose of which is to highlight why I am often drawn to grimdark fantasy: at the very least I know that women, people of color, lgbt people, and other religions will be present, even if they are often victimized. This is because grimdark fantasy honestly depicts the horrors of rape, war, murder, slavery, and racism (or rather, speciesism in most cases) and has heroes and villains that are morally grey.
However, many authors describe these atrocities and then leave it at that, assuming that simply depicting them is enough to make a book mature and meaningful. They often fail to make any sort of statement on evil, and thus can seem to be, at best, blindly accepting it and, at worst, glorifying it (this often happens in the cases of magnificent bastard characters, who are absolute monsters but are so charming you almost respect or like them).
Jonathan French, however, does not fall short of the mark as many authors do, and for two main reasons: humor and humanity.
Let’s start with the humor. This book is hilarious. I mean in the I literally laughed out loud while reading it way. Sure, the jokes are often crass, but I have a dirty mind, so inappropriate humor is my favorite kind. The dialogue is especially top-notch, and the interactions between Jackal and his friends Fetching and Oats feel genuine, full of in-jokes, insults, and sexually-charged humor, all of which are exactly how I interact with my own close friends. And every major character in this book is so damn witty that I’m honestly jealous of them. If I could be quick enough to make even one of their zingers at the right time in a conversation, I would feel proud of myself for the rest of the day.
Humor is necessary to prevent any grimdark fantasy from becoming too over-the-top or depressing. And honestly, humor is needed most when the world is a dark and frightening place. But too much humor could accidentally downplay the point of grimdark: the brutally honest depiction of the atrocities that people are capable of.
And this is where it is important to have an element of humanity. By this I mean that the “good guys” must make some action or statement on those atrocities. Too often I read or watch hardened badass characters with no emotion who can watch a person get tortured and killed without flinching (maybe even do it themselves) and who never stop to question the nature of their society (even as part of their character growth), and I have difficulty finding them at all relatable or even the least bit interesting.
Now, often for this type of character, he or she is dead inside as a coping mechanism and part of their character arc is learning to allow themselves to feel their repressed emotions: heartbreak, anger, fear, etc. This can be done very well (see The Hunger Games for a great example—dystopian scifi and grimdark fantasy have very similar undertones). But most times it just ends up falling flat.
But Jackal already starts out with more personality than most grimdark protagonists. He is a humorous and light-hearted person. Sure, he lives in a desert wasteland, his race is entirely created by rape, he’s treated as a second-class citizen, and his life and the lives of those around him are in constant danger of rape and/or murder by invading orcs or blood-crazed centaurs. But despite all of that, he still has a sense of humor, people he loves, a community, ambitions, moral code, and all of the other things that these protagonists are often lacking.
Don’t get me wrong, he can be an asshole, and he’s often acts rashly before he thinks. But the scene that really stuck with me the most was [when Jackal and the wizard Crafty come across an unconscious elf sex-slave. I was expecting him to say something along the lines of “There’s nothing we can do for her, we have to save ourselves” or “This isn’t any of our business” or “It would be best to just put her out of her mercy.” These are the typical lines that a grimdark protagonist might utter while their companion—accused of being a bleeding heart—frees the slave. But this was not the case. Jackal and Crafty both immediately set out to free the girl and steal her away from her owner, despite the danger to themselves. And when he comes across an entire castle-full of these women, Jackal again sets about freeing them without a moment’s hesitation. (hide spoiler)]
And it’s no surprise that Jackal has a serious problem with rape. As I’ve mentioned before, half-orcs are entirely the product of roving bands of orcs raping human, elven, or even half-orc women. [When Jackal learns that Starling, the elf slave he rescued, is pregnant with a half-orc baby, he is not only furious with the orcs that gang-raped her, but also disturbed by the fact that elven society shuns any of their women who have been raped, and that these victims often end up taking their own lives rather than give birth to an impure half-elf. (hide spoiler)]
Furthermore, Jackal, unlike many people in Hispartha, does not buy into misogyny or sexism. His best friend Fetching is the first female half-orc to have joined a group of riders. Not only does Jackal respect Fetching, he understands the emotional turmoil that she is dealing with being the first female rider and how she overcompensates as a result to earn the respect of the other men.
While there is quite a bit of speciesism (pretty much none of the species get along with one another), the inhabitants of Hispartha come in every skin color and nobody gives a damn. Furthermore, sexuality is primarily treated as each person’s individual preference and nobody else’s business. While characters may make jokes about acting “backy” (gay), these are made in good humor between friends, and nobody gets particularly offended by them. Fetching is herself openly bisexual (though she seems to suppress her heterosexual desires more than her homosexual ones out of that same need to be “one of the boys”), and Oats and Jackal are one of my favorite bromantic pairings.
Grimdark fantasy can often be depressing to read. But Jonathan French does an excellent job of infusing hope into his narrative. The story actually has a happier ending than I was expecting. [I was especially pleased when Jackal chooses Fetching to be the new leader of the hoof (she is voted in unanimously by the other riders). I find it incredibly annoying in books and movies when revolutionaries/usurpers decide to appoint themselves leaders, as the former does not qualify you for the latter. Part of Jackal’s arc is realizing that he is not meant to lead the hoof like he’d once desired. (hide spoiler)]
For the sequel, The True Bastards, I’m hoping to see [if a cure can be found for the thrice-blood child now infected with plague, how Fetching is doing leading the hoof, and what the mysterious Starling is up to (I don’t buy for a second that she’s killed herself). And of course, I fully expect that Jackal is going to have to fulfill his empty promise to the halfling’s resurrected god, Belico.
But don’t be fooled into thinking this book will be any less intelligent, epic, or heartfelt for it. The Grey Bastards is all of that and more. The novel follows Jackal, a half-breed orc living in the Lot Lands, the barren desert wasteland of Hispartha. He is a Grey Bastard, one of many half-orc hoofs, each protecting its own small town in the Lots. Members of a hoof are elite warriors that ride out on their Barbarians—giant warthogs—and slaughter invading bands of orcs.
Hispartha is a vibrant world, with a mix of fantastical species (orcs, half-orcs, elves, humans, halflings, and centaurs) with unique cultures and religions. Hispartha itself takes influences from Reconquista Spain, which is especially noticeable in the nomenclature, geography, and architecture.
The primarily atheistic half-orcs recently won their freedom from slavery at the hands of humans. Humans treat the half-orcs like second-class citizens, but tolerate them because of their strength, using them as a shield from the orcs. The elves are beautiful, reclusive, and probably the most cliché; there is one important elf character, but for the most part, we don’t get a good look into their culture in the first book. The centaurs worship Romanesque deities and go on crazed, Bacchanalian killing sprees during the blood moon.
Besides the half-orcs, the halflings are perhaps the most interesting. I still have a hard time visualizing them, trying to figure out if they are thin, pixie-like creatures or more stocky like dwarves. Their small stature and black skin makes me think of pygmies. They worship a god they expect will reincarnate someday, (view spoiler)
One thing that has always annoyed me about fantasy is that many authors feel that the characters of their world, being pre-industrial and thus “medieval,” must all be white, straight, Christian (or proto-Christian), cisgender males. If a woman appears at all is to act as the damsel, prize, or, if she’s lucky, a mystical enchantress to guide the heroes or provide a maguffin. It has come to the point in which this has become a tired and accepted baseline for fantasy. I don’t necessarily think that these fantasy authors are intentionally trying to be uninclusive, so much as they just seem to forget that other groups of people can exist in fantasy thanks to its fathers, Tolkien and Lewis.
But enough with my rant, the purpose of which is to highlight why I am often drawn to grimdark fantasy: at the very least I know that women, people of color, lgbt people, and other religions will be present, even if they are often victimized. This is because grimdark fantasy honestly depicts the horrors of rape, war, murder, slavery, and racism (or rather, speciesism in most cases) and has heroes and villains that are morally grey.
However, many authors describe these atrocities and then leave it at that, assuming that simply depicting them is enough to make a book mature and meaningful. They often fail to make any sort of statement on evil, and thus can seem to be, at best, blindly accepting it and, at worst, glorifying it (this often happens in the cases of magnificent bastard characters, who are absolute monsters but are so charming you almost respect or like them).
Jonathan French, however, does not fall short of the mark as many authors do, and for two main reasons: humor and humanity.
Let’s start with the humor. This book is hilarious. I mean in the I literally laughed out loud while reading it way. Sure, the jokes are often crass, but I have a dirty mind, so inappropriate humor is my favorite kind. The dialogue is especially top-notch, and the interactions between Jackal and his friends Fetching and Oats feel genuine, full of in-jokes, insults, and sexually-charged humor, all of which are exactly how I interact with my own close friends. And every major character in this book is so damn witty that I’m honestly jealous of them. If I could be quick enough to make even one of their zingers at the right time in a conversation, I would feel proud of myself for the rest of the day.
Humor is necessary to prevent any grimdark fantasy from becoming too over-the-top or depressing. And honestly, humor is needed most when the world is a dark and frightening place. But too much humor could accidentally downplay the point of grimdark: the brutally honest depiction of the atrocities that people are capable of.
And this is where it is important to have an element of humanity. By this I mean that the “good guys” must make some action or statement on those atrocities. Too often I read or watch hardened badass characters with no emotion who can watch a person get tortured and killed without flinching (maybe even do it themselves) and who never stop to question the nature of their society (even as part of their character growth), and I have difficulty finding them at all relatable or even the least bit interesting.
Now, often for this type of character, he or she is dead inside as a coping mechanism and part of their character arc is learning to allow themselves to feel their repressed emotions: heartbreak, anger, fear, etc. This can be done very well (see The Hunger Games for a great example—dystopian scifi and grimdark fantasy have very similar undertones). But most times it just ends up falling flat.
But Jackal already starts out with more personality than most grimdark protagonists. He is a humorous and light-hearted person. Sure, he lives in a desert wasteland, his race is entirely created by rape, he’s treated as a second-class citizen, and his life and the lives of those around him are in constant danger of rape and/or murder by invading orcs or blood-crazed centaurs. But despite all of that, he still has a sense of humor, people he loves, a community, ambitions, moral code, and all of the other things that these protagonists are often lacking.
Don’t get me wrong, he can be an asshole, and he’s often acts rashly before he thinks. But the scene that really stuck with me the most was [when Jackal and the wizard Crafty come across an unconscious elf sex-slave. I was expecting him to say something along the lines of “There’s nothing we can do for her, we have to save ourselves” or “This isn’t any of our business” or “It would be best to just put her out of her mercy.” These are the typical lines that a grimdark protagonist might utter while their companion—accused of being a bleeding heart—frees the slave. But this was not the case. Jackal and Crafty both immediately set out to free the girl and steal her away from her owner, despite the danger to themselves. And when he comes across an entire castle-full of these women, Jackal again sets about freeing them without a moment’s hesitation. (hide spoiler)]
And it’s no surprise that Jackal has a serious problem with rape. As I’ve mentioned before, half-orcs are entirely the product of roving bands of orcs raping human, elven, or even half-orc women. [When Jackal learns that Starling, the elf slave he rescued, is pregnant with a half-orc baby, he is not only furious with the orcs that gang-raped her, but also disturbed by the fact that elven society shuns any of their women who have been raped, and that these victims often end up taking their own lives rather than give birth to an impure half-elf. (hide spoiler)]
Furthermore, Jackal, unlike many people in Hispartha, does not buy into misogyny or sexism. His best friend Fetching is the first female half-orc to have joined a group of riders. Not only does Jackal respect Fetching, he understands the emotional turmoil that she is dealing with being the first female rider and how she overcompensates as a result to earn the respect of the other men.
While there is quite a bit of speciesism (pretty much none of the species get along with one another), the inhabitants of Hispartha come in every skin color and nobody gives a damn. Furthermore, sexuality is primarily treated as each person’s individual preference and nobody else’s business. While characters may make jokes about acting “backy” (gay), these are made in good humor between friends, and nobody gets particularly offended by them. Fetching is herself openly bisexual (though she seems to suppress her heterosexual desires more than her homosexual ones out of that same need to be “one of the boys”), and Oats and Jackal are one of my favorite bromantic pairings.
Grimdark fantasy can often be depressing to read. But Jonathan French does an excellent job of infusing hope into his narrative. The story actually has a happier ending than I was expecting. [I was especially pleased when Jackal chooses Fetching to be the new leader of the hoof (she is voted in unanimously by the other riders). I find it incredibly annoying in books and movies when revolutionaries/usurpers decide to appoint themselves leaders, as the former does not qualify you for the latter. Part of Jackal’s arc is realizing that he is not meant to lead the hoof like he’d once desired. (hide spoiler)]
For the sequel, The True Bastards, I’m hoping to see [if a cure can be found for the thrice-blood child now infected with plague, how Fetching is doing leading the hoof, and what the mysterious Starling is up to (I don’t buy for a second that she’s killed herself). And of course, I fully expect that Jackal is going to have to fulfill his empty promise to the halfling’s resurrected god, Belico.
Kristy H (1252 KP) rated As Chimney Sweepers Come to Dust (Flavia de Luce, #7) in Books
Feb 13, 2018
I can't help it. I just find Flavia de Luce absolutely delightful. I want to be her friend, her confidante, her laboratory buddy. I confess that the last Flavia novel, The Dead in their Vaulted Arches, was probably my least favorite of the series (though still a fun read), and I was a bit tentative about this one. And it's true, I missed Buckshaw a lot (though probably not as much as Flavia). This novel finds Flavia in Canada, navigating boarding school after discovery that she's to be inducted in the same secret society as her mother.
Perhaps I envisioned a bit more secret-spy training for Flavia than the book delivered - instead, immediately upon her arrival, a dead body falls out of a chimney, and Flavia sets upon her usual course - proving the adults wrong and finding out whodunnit. It's a formula that still hasn't gotten old, because Bradley simply writes Flavia so well. She is such an amazing character - so likable, so true to herself. I can just picture her in the situations in which she finds herself, and imagine the adults around her and their expressions. Flavia has some good interactions with both her fellow students and teachers at this new academy -- many of whom knew her mother. the late Harriet. She proves herself a worthy detective, again, of course, using her wits and chemistry.
The whole Nide business is still a bit odd and confusing to me. I suppose that's the point, but it's hard not to have some resolution - though I suppose we are supposed to be sharing Flavia's similar frustration at this point.
Nevertheless, I am amazed at Bradley's ability to continue to write books that so embody this character. I often try to envision a Flavia film and then find myself hoping it never happens, as I would hate to have the Flavia in my head ruined by the movies.
Definitely worth a read, as always, and now I'm left bereft that I'll have to wait over a year for the next installment of Flavia's adventures.
(Note, I received an advanced copy of this title from NetGalley in return for an unbiased review.)
Perhaps I envisioned a bit more secret-spy training for Flavia than the book delivered - instead, immediately upon her arrival, a dead body falls out of a chimney, and Flavia sets upon her usual course - proving the adults wrong and finding out whodunnit. It's a formula that still hasn't gotten old, because Bradley simply writes Flavia so well. She is such an amazing character - so likable, so true to herself. I can just picture her in the situations in which she finds herself, and imagine the adults around her and their expressions. Flavia has some good interactions with both her fellow students and teachers at this new academy -- many of whom knew her mother. the late Harriet. She proves herself a worthy detective, again, of course, using her wits and chemistry.
The whole Nide business is still a bit odd and confusing to me. I suppose that's the point, but it's hard not to have some resolution - though I suppose we are supposed to be sharing Flavia's similar frustration at this point.
Nevertheless, I am amazed at Bradley's ability to continue to write books that so embody this character. I often try to envision a Flavia film and then find myself hoping it never happens, as I would hate to have the Flavia in my head ruined by the movies.
Definitely worth a read, as always, and now I'm left bereft that I'll have to wait over a year for the next installment of Flavia's adventures.
(Note, I received an advanced copy of this title from NetGalley in return for an unbiased review.)
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Hadley (567 KP) rated Chosen Ones in Books
Jul 21, 2021
Writing (3 more)
Inconsistencies
Constantly stopping the story
Stereo-typical character
What usually draws readers into a hero versus villain story is to see the hero's fight to victory. The struggle, the refusal to back down - - - we usually put ourselves into this character and root for them to win at any cost. But the Chosen Ones starts us off after our heroes are victorious in the battle against the villain. The heroes are trying to cope with every day life after achieving the most important thing they would ever accomplish, but memories of the war against the Dark One keep them from returning to that normal life.
Sloane is our main character - - - one of the five heroes that was picked by a prophecy years ago to take down the Dark One. One of the effects of battling the villain for her is she now endures PTSD-induced nightmares. We meet her in the midst of one of these nightmares, where she nearly stabs her boyfriend, Matt (also one of the five heroes), with a kitchen knife. And this isn't the first time this has happened: it happens enough that Sloane was put on medication to help with her PTSD, as well as going to therapy.
But with the ten year anniversary of the Dark One's defeat looming ahead, life seems to be getting even harder for the heroes. All the heroes want is to move on and forget the war had ever happened - - - but then something happens that causes them to relive the Dark One's fight all over again.
The heroes end up on a magic-using world called Genetrix where a man going by the name the Resurrectionist is causing the same destruction as the Dark One did on their world. Disoriented and curious, the heroes have no choice but to believe the two main magic users who brought them there, Aelia and Nero. The two seem to be the ones in charge of finding the chosen one to take down the Resurrectionist. But soon after the heroes agree to take down this world's Dark One, they begin to believe that Aelia and Nero are hiding information from them.
The heroes decide to focus on learning to use magic, so they can defend themselves on this world. With the help of siphons, the heroes are able to begin practicing magic for their fight with the Resurrectionist. . . but for Sloane, she is unable to get her siphon to work, instead, she contains an ability that came from a cursed object from their world, a cursed object that wants her back.
This book contains a lot of the problems that went on during 2020, possibly too many of them. Unlike most books released last year, Chosen Ones didn't do a well enough job of hiding reality in plain sight. Chosen Ones also made the mistake of cutting up the story with intermissions of newspaper articles and government reports. Divergent author Veronica Roth disrupted the flow of the story by doing such that it felt like the story continuously came to a stand still.
Chosen Ones also plays up the Young Adult genre tropes. The relationship between Sloane and Mox happens so quickly that it isn't believable to the reader, and the result is awkward to the point of embarrassing. Also, the friendship between the heroes is very flat, so much so that when conflict arises, I was left believing that no one cared if the other one died.
But it was the idea of the story that hooked me as a reader - - - movies, television shows, and other novels normally focus on the heroes during the great fight with the villain, allowing readers to live the war and pick the fighter they want to win. In this novel, the connection with the heroes is severely lacking, especially when the only character development happens to Sloane. Very reminiscent of Mira Grant's 'Feed,' I couldn't bring myself to like the main character. Sloane tries too hard to be a strong and independent woman, she comes off as a teenager trapped in an adult woman's body, even Ines, one of the other female heroes, is a more well-put together character than Sloane is. This is the trope that is killing lead female characters in the Young Adult genre, but I suppose it's better than having the stereo-typical ditzy female lead characters most adult novels have.
Although the synopsis caused me to buy this book, I was really disappointed with the path in which Roth took it down. The biggest issue was how much of 2020's problems were shoved into one book because it took away from what this story could have been. The heroes are blatantly fighting Donald Trump aka the Dark One, and this subject has been done to-death so much that I couldn't get fully immersed into the story. They also fight against people who can do magic, including people who are apparently Wiccans - - - but Roth labels them as 'evil. ' Having known actually Wiccans in my life, I know that they believe in harming none. Roth's stereo-typing of anyone who is not her heroes shows a shallowness that is becoming more prevalent, unfortunately, in female writers.
Chosen Ones could have been so much more than what it was because it just ends up being another empty story that takes on today's problems just to sell a book. With inconsistencies and bad writing throughout, I can't recommend this book to anyone, but if you love YA tropes, then you'll love this one.
Sloane is our main character - - - one of the five heroes that was picked by a prophecy years ago to take down the Dark One. One of the effects of battling the villain for her is she now endures PTSD-induced nightmares. We meet her in the midst of one of these nightmares, where she nearly stabs her boyfriend, Matt (also one of the five heroes), with a kitchen knife. And this isn't the first time this has happened: it happens enough that Sloane was put on medication to help with her PTSD, as well as going to therapy.
But with the ten year anniversary of the Dark One's defeat looming ahead, life seems to be getting even harder for the heroes. All the heroes want is to move on and forget the war had ever happened - - - but then something happens that causes them to relive the Dark One's fight all over again.
The heroes end up on a magic-using world called Genetrix where a man going by the name the Resurrectionist is causing the same destruction as the Dark One did on their world. Disoriented and curious, the heroes have no choice but to believe the two main magic users who brought them there, Aelia and Nero. The two seem to be the ones in charge of finding the chosen one to take down the Resurrectionist. But soon after the heroes agree to take down this world's Dark One, they begin to believe that Aelia and Nero are hiding information from them.
The heroes decide to focus on learning to use magic, so they can defend themselves on this world. With the help of siphons, the heroes are able to begin practicing magic for their fight with the Resurrectionist. . . but for Sloane, she is unable to get her siphon to work, instead, she contains an ability that came from a cursed object from their world, a cursed object that wants her back.
This book contains a lot of the problems that went on during 2020, possibly too many of them. Unlike most books released last year, Chosen Ones didn't do a well enough job of hiding reality in plain sight. Chosen Ones also made the mistake of cutting up the story with intermissions of newspaper articles and government reports. Divergent author Veronica Roth disrupted the flow of the story by doing such that it felt like the story continuously came to a stand still.
Chosen Ones also plays up the Young Adult genre tropes. The relationship between Sloane and Mox happens so quickly that it isn't believable to the reader, and the result is awkward to the point of embarrassing. Also, the friendship between the heroes is very flat, so much so that when conflict arises, I was left believing that no one cared if the other one died.
But it was the idea of the story that hooked me as a reader - - - movies, television shows, and other novels normally focus on the heroes during the great fight with the villain, allowing readers to live the war and pick the fighter they want to win. In this novel, the connection with the heroes is severely lacking, especially when the only character development happens to Sloane. Very reminiscent of Mira Grant's 'Feed,' I couldn't bring myself to like the main character. Sloane tries too hard to be a strong and independent woman, she comes off as a teenager trapped in an adult woman's body, even Ines, one of the other female heroes, is a more well-put together character than Sloane is. This is the trope that is killing lead female characters in the Young Adult genre, but I suppose it's better than having the stereo-typical ditzy female lead characters most adult novels have.
Although the synopsis caused me to buy this book, I was really disappointed with the path in which Roth took it down. The biggest issue was how much of 2020's problems were shoved into one book because it took away from what this story could have been. The heroes are blatantly fighting Donald Trump aka the Dark One, and this subject has been done to-death so much that I couldn't get fully immersed into the story. They also fight against people who can do magic, including people who are apparently Wiccans - - - but Roth labels them as 'evil. ' Having known actually Wiccans in my life, I know that they believe in harming none. Roth's stereo-typing of anyone who is not her heroes shows a shallowness that is becoming more prevalent, unfortunately, in female writers.
Chosen Ones could have been so much more than what it was because it just ends up being another empty story that takes on today's problems just to sell a book. With inconsistencies and bad writing throughout, I can't recommend this book to anyone, but if you love YA tropes, then you'll love this one.
Ivana A. | Diary of Difference (1171 KP) rated Stepsister in Books
Feb 3, 2020
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When you are little, you watch a lot of movies. For us girls, life is filled with princesses and happy ever afters. With castles and knights in shining armours. And it’s always that the beautiful girls get their princes. Only beautiful girls get to be happy.
In this book, we get to really see the reality of what I have said above. It is all true. Only beautiful girls get the happy ever after. <b><i>But beauty doesn’t always mean pretty.</b></i>
In a world of prejudice and bullying, Stepsister by Jennifer Donnelly shows people, especially girls, that it is okay to be different. It is okay to be brave and follow your dreams. It is okay to be wild and strong willed. The people that truly love you, will always be by your side.
Meet Isabelle – Cinderella’s ugly stepsister. The girl that cuts her toes to get into the glass slipper. For those who didn’t know, the original Cinderella story by the Grimm brothers indeed has a scene where both ugly stepsisters cut their heel and toes, just to fit in the slipper and marry the prince.
<b><i>‘’The little toe was the hardest. Which didn’t come as a surprise. It’s often the small things that hurt the most – a cold glance, a cutting word, laughter that stops when you enter the room.’’</b></i>
Isabelle has never really wanted to be evil, but jealousy and mum’s pressure have been doing their own thing. When she gets a second chance in life though, she goes for it. She must complete an impossible task to find her happy ever after. And while doing so, she will find her true self.
<b><i>‘’Most people will fight when there is some hope for winning, no matter how slim. They are called brave. Only a few will keep fighting when all hope is gone. They are called warriors. Isabelle was a warrior once, though she has forgotten it.’’</b></i>
Be prepared to feel all emotions, and cheer for Isabelle, when she is fighting against the world. Relive the magic of an amazing retelling and be ready for an unforgettable adventure. What Jennifer has done to bring the Grimm feeling into a powerful story is to be admired. I will admire and cherish this book forever.
I am not a fan of re-reading books, but this will definitely be one book I will always come back to.
<b><i>‘’Algebra comes from Arabic. From al-jabr, which means ‘’the reunion of broken parts’’. Al-Khwarizmi believed that what’s broken can be made whole again if you just apply the right equation.’’
”If only there was an equation that could do the same for people.”</b></i>
Thank you to the team at ReadersFirst, for sending me a paperback copy of this book, in exchange for my honest review.
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>;
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When you are little, you watch a lot of movies. For us girls, life is filled with princesses and happy ever afters. With castles and knights in shining armours. And it’s always that the beautiful girls get their princes. Only beautiful girls get to be happy.
In this book, we get to really see the reality of what I have said above. It is all true. Only beautiful girls get the happy ever after. <b><i>But beauty doesn’t always mean pretty.</b></i>
In a world of prejudice and bullying, Stepsister by Jennifer Donnelly shows people, especially girls, that it is okay to be different. It is okay to be brave and follow your dreams. It is okay to be wild and strong willed. The people that truly love you, will always be by your side.
Meet Isabelle – Cinderella’s ugly stepsister. The girl that cuts her toes to get into the glass slipper. For those who didn’t know, the original Cinderella story by the Grimm brothers indeed has a scene where both ugly stepsisters cut their heel and toes, just to fit in the slipper and marry the prince.
<b><i>‘’The little toe was the hardest. Which didn’t come as a surprise. It’s often the small things that hurt the most – a cold glance, a cutting word, laughter that stops when you enter the room.’’</b></i>
Isabelle has never really wanted to be evil, but jealousy and mum’s pressure have been doing their own thing. When she gets a second chance in life though, she goes for it. She must complete an impossible task to find her happy ever after. And while doing so, she will find her true self.
<b><i>‘’Most people will fight when there is some hope for winning, no matter how slim. They are called brave. Only a few will keep fighting when all hope is gone. They are called warriors. Isabelle was a warrior once, though she has forgotten it.’’</b></i>
Be prepared to feel all emotions, and cheer for Isabelle, when she is fighting against the world. Relive the magic of an amazing retelling and be ready for an unforgettable adventure. What Jennifer has done to bring the Grimm feeling into a powerful story is to be admired. I will admire and cherish this book forever.
I am not a fan of re-reading books, but this will definitely be one book I will always come back to.
<b><i>‘’Algebra comes from Arabic. From al-jabr, which means ‘’the reunion of broken parts’’. Al-Khwarizmi believed that what’s broken can be made whole again if you just apply the right equation.’’
”If only there was an equation that could do the same for people.”</b></i>
Thank you to the team at ReadersFirst, for sending me a paperback copy of this book, in exchange for my honest review.
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>;
Lee (2222 KP) rated Castle Rock in TV
Jan 21, 2019
Sissy Spacek (1 more)
Bill Skarsgård
Fantastic story telling
Set in the Stephen King multiverse, the Maine town of Castle Rock is the setting for this psychological horror thriller spanning ten episodes. It utilises various characters and settings from the authors work, and even actors who have appeared in movie versions of his books, resulting in a unique and richly detailed story which has been clearly influenced by the great author.
The story begins with yet another Shawshank prison warden, Warden Lacy, committing suicide. When his successor Theresa Porter takes over, she begins plans to reopen an abandoned cell block within the prison in order to cater for the growing number of inmates. As guards investigate the old block, they discover a young man (Bill Skarsgård, as creepy without his 'It' makeup as he is in it!) locked in an underground cage, with no record as to who he is or why he was down there. The only words he utters when asked his name are Henry Deaver, the name of a lawyer who'd had a troubled childhood in Castle Rock (glimpsed in a flashback right at the start of the episode) and is now living in Texas. As the kid gets moved to the main prison cells while they try to figure out where he came from, mystery and death seem to follow him. We discover in flashbacks that Warden Lacy was the one responsible for caging him and keeping him alive all these years, claiming that god had instructed him to do it. Eventually Henry Deaver manages to get the kid released into the community, but bad things continue to happen wherever he goes and he also appears to be drawn to the childhood home of Henry Deaver, where his dementia suffering mother Ruth (Sissy Spacek) and her new partner Alan are. Is this mysterious stranger actually the devil? Why did Warden Lacy tell him before he committed suicide that he must ask for Henry Deaver if ever discovered? And why, as we discover later on, has this kid not aged one bit in the last 27 years?!
The remainder of the season continues to slowly add details and backstory, adding a few more interesting characters along the way with very few clues that may provide a full answer to these questions. It's wonderful story telling, continuing to provide mystery every step of the way and demanding that you pay close attention to absolutely everything. Towards the end of the season are two outstanding episodes which reward your attention, making you re-evaluate everything you've seen before and giving you a fresh perspective on the whole story. They focus on the two most interesting characters of the season, coincidentally played by actors who have previously starred in Stephen King movie adaptations. In 'The Queen', we focus on Ruth - walking us through conversations and scenes we've seen before in previous episodes but showing them the way she experiences them, which isn't necessarily the way they unfolded for others. It's an emotional representation of dementia, showing just how terrifying and tragic a deteriorating mind can be. Then, in the episode 'Henry Deaver', we focus on the kid and finally get to understand who he is, where he came from and the reason for everything that's happened so far. We get a lot of answers, and whether or not you'd already got a pretty good idea of what was going on (I hadn't), this is still a fantastic episode.
Overall, Castle Rock managed to keep me hooked, entertained, and at times confused, and I really can't ask for more than that in a show. I'm not a reader of books, so wouldn't have picked up on all of the Easter eggs dotted around the show for fans of Stephen King to enjoy. But I absolutely love the movies that are based on them, so I got a real kick out of revisiting the setting of Shawshank. I also love 'The Shining', so got an even bigger kick out of a final end credits scene where the niece of Jack Torrance, and an author herself, states that she's headed out west to dig deeper into her family history. If we're headed to the Overlook Hotel next, then I absolutely cannot wait for season 2!
The story begins with yet another Shawshank prison warden, Warden Lacy, committing suicide. When his successor Theresa Porter takes over, she begins plans to reopen an abandoned cell block within the prison in order to cater for the growing number of inmates. As guards investigate the old block, they discover a young man (Bill Skarsgård, as creepy without his 'It' makeup as he is in it!) locked in an underground cage, with no record as to who he is or why he was down there. The only words he utters when asked his name are Henry Deaver, the name of a lawyer who'd had a troubled childhood in Castle Rock (glimpsed in a flashback right at the start of the episode) and is now living in Texas. As the kid gets moved to the main prison cells while they try to figure out where he came from, mystery and death seem to follow him. We discover in flashbacks that Warden Lacy was the one responsible for caging him and keeping him alive all these years, claiming that god had instructed him to do it. Eventually Henry Deaver manages to get the kid released into the community, but bad things continue to happen wherever he goes and he also appears to be drawn to the childhood home of Henry Deaver, where his dementia suffering mother Ruth (Sissy Spacek) and her new partner Alan are. Is this mysterious stranger actually the devil? Why did Warden Lacy tell him before he committed suicide that he must ask for Henry Deaver if ever discovered? And why, as we discover later on, has this kid not aged one bit in the last 27 years?!
The remainder of the season continues to slowly add details and backstory, adding a few more interesting characters along the way with very few clues that may provide a full answer to these questions. It's wonderful story telling, continuing to provide mystery every step of the way and demanding that you pay close attention to absolutely everything. Towards the end of the season are two outstanding episodes which reward your attention, making you re-evaluate everything you've seen before and giving you a fresh perspective on the whole story. They focus on the two most interesting characters of the season, coincidentally played by actors who have previously starred in Stephen King movie adaptations. In 'The Queen', we focus on Ruth - walking us through conversations and scenes we've seen before in previous episodes but showing them the way she experiences them, which isn't necessarily the way they unfolded for others. It's an emotional representation of dementia, showing just how terrifying and tragic a deteriorating mind can be. Then, in the episode 'Henry Deaver', we focus on the kid and finally get to understand who he is, where he came from and the reason for everything that's happened so far. We get a lot of answers, and whether or not you'd already got a pretty good idea of what was going on (I hadn't), this is still a fantastic episode.
Overall, Castle Rock managed to keep me hooked, entertained, and at times confused, and I really can't ask for more than that in a show. I'm not a reader of books, so wouldn't have picked up on all of the Easter eggs dotted around the show for fans of Stephen King to enjoy. But I absolutely love the movies that are based on them, so I got a real kick out of revisiting the setting of Shawshank. I also love 'The Shining', so got an even bigger kick out of a final end credits scene where the niece of Jack Torrance, and an author herself, states that she's headed out west to dig deeper into her family history. If we're headed to the Overlook Hotel next, then I absolutely cannot wait for season 2!
Woody Allen Film by Film
Book
Since he first vented his neuroses on the big screen in 1965, Woody Allen has enjoyed a career...
