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The Royal Fifth
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The Royal Fifth is based loosely on historical events surrounding the Conqueror, Hernán Cortés,...
Adventure Thriller
Heart Fire (Under Violet Suns #1)
8.0
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*The planet Falosia has an excess of females. The planet Verit has a surplus of males. The best of...
Adult Science Fiction Romance
Apollo's Raven (Curse of Clansmen and Kings #1)
6.0
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A Celtic warrior princess is torn between her forbidden love for the enemy and duty to her people. ...
Historical Fantasy
Merissa (13993 KP) rated Catching the Dragon's Heart (Heartstone Rescue #2) in Books
Nov 5, 2023
CATCHING THE DRAGON'S HEART is the second book in the Heartstone Rescue series.
Eyv finds out his betrothal is being broken in favour of his younger brother. In anger, he bites off the hand of his 'beloved.' In return, his father crushes his heartstone and Evy gets sentenced to death. Nice, huh?! Durango is Boone's brother and one of the dragons sent to rescue Eyv. Their attraction is pretty much instant, but they have to cope with the whole, you know, dying part of not having a heartstone.
This was a great addition to the series but I would recommend reading it as a series rather than a standalone. It is full of characters we met in the first book, as well as new ones. There are also more rescues so that ramps up the political situation too.
Lake's story was perfect for him and Boone, just as this one is perfect for Eyv and Durango. I love their family and can't wait to see what happens next for them.
Definitely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Eyv finds out his betrothal is being broken in favour of his younger brother. In anger, he bites off the hand of his 'beloved.' In return, his father crushes his heartstone and Evy gets sentenced to death. Nice, huh?! Durango is Boone's brother and one of the dragons sent to rescue Eyv. Their attraction is pretty much instant, but they have to cope with the whole, you know, dying part of not having a heartstone.
This was a great addition to the series but I would recommend reading it as a series rather than a standalone. It is full of characters we met in the first book, as well as new ones. There are also more rescues so that ramps up the political situation too.
Lake's story was perfect for him and Boone, just as this one is perfect for Eyv and Durango. I love their family and can't wait to see what happens next for them.
Definitely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Merissa (13993 KP) rated Empress of Storms (Two Thrones #1) in Books
May 17, 2023
This is the story of Matthias and Danae, rulers of their countries, aligned in a political marriage that Danae hopes will become the real thing. She has had a 'crush' on Matthias for years, but he was happily married. Matthias is the one to marry Danae due to the fact that his wife died and his son, who was supposed to marry her, has disappeared.
This is an exceptional story, with undercurrents all the way through that will grip and entice you. The steamy scenes were certainly hot, but different to Nicola Cameron's other works. A lot more was left to the reader's imagination, which was a good thing for this book. I found the 'traitor' before the name was revealed, HOWEVER, it still came as a surprise, especially with the reasons given behind it. That is how well this book is written!
With a steady and flowing pace, this book with entice you from start to finish. Absolutely recommended and thoroughly enjoyed.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Jan 16, 2016
This is an exceptional story, with undercurrents all the way through that will grip and entice you. The steamy scenes were certainly hot, but different to Nicola Cameron's other works. A lot more was left to the reader's imagination, which was a good thing for this book. I found the 'traitor' before the name was revealed, HOWEVER, it still came as a surprise, especially with the reasons given behind it. That is how well this book is written!
With a steady and flowing pace, this book with entice you from start to finish. Absolutely recommended and thoroughly enjoyed.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Jan 16, 2016
Blossom and the Beast (The Alder Tales #1)
10.0
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Blossom Frane is only weeks away from her transformation. On her eighteenth birthday, she’ll find...
Paranormal Romance Fairy tale Retelling
Mark @ Carstairs Considers (2562 KP) rated Crown of Chaos in Books
Jun 11, 2026 - 4:06 AM
Is War on the Horizon?
The war council is finally happening, and Jax is happy to be able to present the evidence of the treason that has been happening in the realm. But even before the council gets started, Jax learns of betrayal among those she thought were allies. The first session ends with no progress, but things only get worse when a fire and a murder complicate things. Can Jax figure out what is happening? Or is she in over her head?
The last few books have been building to this one (so don’t start here), and I was on board from the start. The political intrigue and the murder mystery work well together, for a book I couldn’t put down until we reach the page turning climax. We don’t see all of the regulars, although we do get some updates on them. I am hoping that one storyline I haven’t been enjoying is heading toward a climax based on what happens here. And I’m finding Jax a bit arrogant; I’m curious to see where that goes in future books. And I will be picking up the next soon. Fans of the series will be just as hooked as I was.
The last few books have been building to this one (so don’t start here), and I was on board from the start. The political intrigue and the murder mystery work well together, for a book I couldn’t put down until we reach the page turning climax. We don’t see all of the regulars, although we do get some updates on them. I am hoping that one storyline I haven’t been enjoying is heading toward a climax based on what happens here. And I’m finding Jax a bit arrogant; I’m curious to see where that goes in future books. And I will be picking up the next soon. Fans of the series will be just as hooked as I was.
Eilidh G Clark (177 KP) rated The Panopticon in Books
May 13, 2017
This is my all time favouurite book.
Jenny Fagan stated in an interview in 2013 that prior to writing the novel The Panopticon (2012) she had one question, ‘is it possible to achieve autonomy?’ Fagan explores this question throughout her novel with the character of Anais Hendrix. I would also suggest that the author is metaphorically exploring whether Scotland can achieve autonomy as an independent nation. Autonomy, in relation to the individual, is self-governance- or being able to decide for oneself
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
Goddess in the Stacks (553 KP) rated My Life with Bob in Books
Sep 13, 2018
I need to read more books about books, because the few that I've read, I've really enjoyed! Earlier this year I read Tolstoy and the Purple Chair, and loved it. I have holds on Voracious: A Hungry Reader Cooks Her Way Through Great Books and The World Between Two Covers: Reading the Globe. (I also have a hold on The Man Who Loved Books Too Much, but I'm not sure that quite counts.) And, in looking up the links for those books, I just put holds on three more books about reading, since this is a genre I apparently enjoy!
My Life with Bob is about the author's reading life. Bob is a notebook she uses to keep track of what she's read. Just title and author, and whether or not she's finished it. Very simple. But in looking back through what she's read, she recalls where she was, and what she was doing or going through at the time. So the real story is how her reading choices fit into her life, and how being a bookworm affected her life.
I enjoyed the book, with the slight irritation (in the latter part of the book) of her insistence on calling Young Adult literature, Children's Lit. Children's books are picture books and books for young readers, not The Fault in Our Stars and The Hunger Games. Those are Young Adult, and there's a pretty big difference in my opinion. Maybe not in the professional world; she is the editor of The New York Times Book Review. But it's frustrating to hear her talk about Kid Lit and lump Harry Potter in with a 36-page autobiography of a teddy bear written for kids under 10.
I was also a little shocked to learn (in the book!) she wrote a book about how porn is destroying the American family, and testified before Congress about it, sponsored by Senators Orrin Hatch and Sam Brownback. I normally don't have a problem reading Republican authors - I often don't know the exact political leanings of authors - but I'm reading about her reading choices, and suddenly they are all suspect. (She disliked Ayn Rand, at least, so that's something.) The book was published in May of last year, so after the last presidential election. Anyone who acknowledges working with the GOP at this point, and isn't embarrassed by it, immediately gets a black mark in my book.
So ultimately I'm torn on this book. I liked reading it. I dislike the author. (I will never even try to be non-political on this blog. Sorry-not-sorry.)
You can find all my reviews at http://goddessinthestacks.com
My Life with Bob is about the author's reading life. Bob is a notebook she uses to keep track of what she's read. Just title and author, and whether or not she's finished it. Very simple. But in looking back through what she's read, she recalls where she was, and what she was doing or going through at the time. So the real story is how her reading choices fit into her life, and how being a bookworm affected her life.
I enjoyed the book, with the slight irritation (in the latter part of the book) of her insistence on calling Young Adult literature, Children's Lit. Children's books are picture books and books for young readers, not The Fault in Our Stars and The Hunger Games. Those are Young Adult, and there's a pretty big difference in my opinion. Maybe not in the professional world; she is the editor of The New York Times Book Review. But it's frustrating to hear her talk about Kid Lit and lump Harry Potter in with a 36-page autobiography of a teddy bear written for kids under 10.
I was also a little shocked to learn (in the book!) she wrote a book about how porn is destroying the American family, and testified before Congress about it, sponsored by Senators Orrin Hatch and Sam Brownback. I normally don't have a problem reading Republican authors - I often don't know the exact political leanings of authors - but I'm reading about her reading choices, and suddenly they are all suspect. (She disliked Ayn Rand, at least, so that's something.) The book was published in May of last year, so after the last presidential election. Anyone who acknowledges working with the GOP at this point, and isn't embarrassed by it, immediately gets a black mark in my book.
So ultimately I'm torn on this book. I liked reading it. I dislike the author. (I will never even try to be non-political on this blog. Sorry-not-sorry.)
You can find all my reviews at http://goddessinthestacks.com