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Prince of Persia® Classic
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App
"Faithful recreation of one of the most famous games in the history of the medium, with revised...
Death Point
Games and Entertainment
App
Death Point is a hardcore single player top-down shooter, stealth game with dual stick control that...
Prince of Persia Classic HD
Games
App
"Faithful recreation of one of the most famous games in the history of the medium, with revised...
Murders and Metaphors
9.0
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USA Today bestselling author Amanda Flower is back with the third in her more-charming-than-ever...
Mystery Fiction Cozy Mystery Fantasy
A Tale of Pirates
Tabletop Game
Put on your captain's hat and navigate the 3D pirate ship using sand timers in this unique real-time...
Legend: The Notorious True Story of the Kray Twins
6.0
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Ever since the Kray twins invited John Pearson to write their 'official' biography more than forty...
Debbiereadsbook (1585 KP) rated Trust Me in Books
Feb 20, 2022
a bit too much, for ME!
Independent reviewer for Archaeolibrarian, I received my copy of this book via Netgalley.
I'm not 100% how I feel about this book, so I'll try to explain (which is not always possible!)
I liked the premise of this book. Delaney's boyfriend was sent to prison for the manslaughter of her brother. He maintained his innocence throughout. The day of his release, she finds her best friend killed the same way, and Hunter is now prime suspect. What follows is a race to not only prove Hunter's claim, but to prevent any more deaths.
I liked that we hear from more than just Delaney and Hunter. I do like to hear from everyone.
I liked the suspense aspect. I wasn't fully certain whodunnit, til it was revealed in the book.
It is a bit violent, with the death discoveries being described in detail. I did think that was appropriate though, for the most part, for this book.
It is clean. I didn't mind that. I do prefer my books on the more explicit side, but I'm big enough to say when a book does not need it.
It does drag a bit, between about 40 to 70% and I very nearly dumped it, but I wanted to know how it would all turn out.
And we come to my biggest issue. I'm quite happy to read Christian books, religious characters, deeply faithful or mindly thoughtful about higher powers. But this book takes the references to God and faith and belief a little bit too far, FOR ME. It felt like, at least every page had a reference to God or faith. A bit like it was shoving it down my throat. It really was, for ME, too much. I stress this point, this is MY OPINION, and how I felt about it.
This is the first I've read of this author. Will I read more? Probably not. A quick search shows a back list of religious themed books, and if they are anything like this one, I won't like it.
So, because of the major dragging bit, and because of the constant God/faith thing . . .
3 stars
I'm not 100% how I feel about this book, so I'll try to explain (which is not always possible!)
I liked the premise of this book. Delaney's boyfriend was sent to prison for the manslaughter of her brother. He maintained his innocence throughout. The day of his release, she finds her best friend killed the same way, and Hunter is now prime suspect. What follows is a race to not only prove Hunter's claim, but to prevent any more deaths.
I liked that we hear from more than just Delaney and Hunter. I do like to hear from everyone.
I liked the suspense aspect. I wasn't fully certain whodunnit, til it was revealed in the book.
It is a bit violent, with the death discoveries being described in detail. I did think that was appropriate though, for the most part, for this book.
It is clean. I didn't mind that. I do prefer my books on the more explicit side, but I'm big enough to say when a book does not need it.
It does drag a bit, between about 40 to 70% and I very nearly dumped it, but I wanted to know how it would all turn out.
And we come to my biggest issue. I'm quite happy to read Christian books, religious characters, deeply faithful or mindly thoughtful about higher powers. But this book takes the references to God and faith and belief a little bit too far, FOR ME. It felt like, at least every page had a reference to God or faith. A bit like it was shoving it down my throat. It really was, for ME, too much. I stress this point, this is MY OPINION, and how I felt about it.
This is the first I've read of this author. Will I read more? Probably not. A quick search shows a back list of religious themed books, and if they are anything like this one, I won't like it.
So, because of the major dragging bit, and because of the constant God/faith thing . . .
3 stars
ClareR (6037 KP) rated The Twyford Code in Books
Feb 24, 2022
The Twyford Code is written in the form of a transcribed voice recording from a mobile phone. It was a bit of a ‘Marmite’ book on The Pigeonhole (where I read it), and I came firmly down in the ‘love’ camp. It was such an original idea.
Steve a former criminal, has recorded messages to the adult son he has only met a couple of times. His son has decided that he doesn’t want to see him, but Steve has something important that he wants to share with him. He repeatedly says that he hopes his son will get to listen to what he has to say. But as the book goes on, it looks increasingly less likely. Danger is around him at every turn.
Steve has joined the hunt for hidden treasure, and he believes the clues are hidden in a series of children’s books by Edith Twyford.
Ok, so apparently the clues can be found in this book, but I’m afraid my brain just doesn’t seem to work like that. So, I’m here to say that I read this, enjoyed it immensely, and was just happy to sit back, read the book, and let the story unfold. If you like puzzle solving, you might enjoy that aspect to it. But it’s not imperative!
I thought it was fascinating. The writing style took a couple of pages to get used to, and often the words were written phonetically. Steve’s Remedial English teachers name was written as ‘missiles’ instead of Miss Isles, for example. There are lots of spellings that follow this pattern, because the recordings have apparently gone through a computer programme that changes the spoken word into text. I did wonder if Steve’s own writing would have been much different, as we learn that he only really learnt to read and write whilst in prison.
I don’t want to say too much and spoil the book, but I will say that this had me hooked. I enjoyed each and every stave on The Pigeonhole. This book deserves the hype!
Many thanks to The Pigeonhole and to Janice Hallett and her publisher.
Steve a former criminal, has recorded messages to the adult son he has only met a couple of times. His son has decided that he doesn’t want to see him, but Steve has something important that he wants to share with him. He repeatedly says that he hopes his son will get to listen to what he has to say. But as the book goes on, it looks increasingly less likely. Danger is around him at every turn.
Steve has joined the hunt for hidden treasure, and he believes the clues are hidden in a series of children’s books by Edith Twyford.
Ok, so apparently the clues can be found in this book, but I’m afraid my brain just doesn’t seem to work like that. So, I’m here to say that I read this, enjoyed it immensely, and was just happy to sit back, read the book, and let the story unfold. If you like puzzle solving, you might enjoy that aspect to it. But it’s not imperative!
I thought it was fascinating. The writing style took a couple of pages to get used to, and often the words were written phonetically. Steve’s Remedial English teachers name was written as ‘missiles’ instead of Miss Isles, for example. There are lots of spellings that follow this pattern, because the recordings have apparently gone through a computer programme that changes the spoken word into text. I did wonder if Steve’s own writing would have been much different, as we learn that he only really learnt to read and write whilst in prison.
I don’t want to say too much and spoil the book, but I will say that this had me hooked. I enjoyed each and every stave on The Pigeonhole. This book deserves the hype!
Many thanks to The Pigeonhole and to Janice Hallett and her publisher.
This book held me in its spell from start to finish. Is that a bit too corny, considering it’s about witches? Actually, I don’t care, because it’s true!
It’s spellbinding, in fact.
Three generations of witches tell the stories of how they came into their power despite the interference of society and men (mainly men though 🤷🏼♀️).
In 1619, Altha Weyward is on trial for witchcraft, and whilst she’s in the towns prison she reminisces over her mother, her life before, everything she has learnt and the circumstances that led up to her incarceration. Altha had the knowledge needed to help people, but that same knowledge put her in danger from the church and general ignorance (and we can’t have women knowing more than men, can we!)
In 1942, Violet Ayres lives a very restricted life, tucked away from the rest of the world in her family home. She has only two clues about her heritage: her dead mothers locket with a “W” inscribed and the word “Weyward” scratched into the skirting board under her bed.
2019, Kate Ayres escapes a violent relationship in London and flees to Weyward cottage - the house her Aunt Violet had left her in her will. It’s a wild, unkempt, rundown house and garden, but it’s what Kate needs. She finds Altha’s diaries, some writings from Violet, and begins to learn about her true inheritance.
I just loved this book so much. Women taking control of their lives away from the men who would control them. Nature and magic is woven throughout, and nothing feels far-fetched or unbelievable.
I loved the alternating chapters between the three women, and this was probably the main reason why I couldn’t put it down. I needed to know what was going to happen to each of them next.
What more can I say? This WILL be high up in my favourite books this year. And to have read it in February!! How lucky am I!
I can’t wait to see what Emilia Hart writes next.
Many thanks to NetGalley and Harper Collins UK for my ebook copy of this book to read and review. Of course these are my own opinions!
It’s spellbinding, in fact.
Three generations of witches tell the stories of how they came into their power despite the interference of society and men (mainly men though 🤷🏼♀️).
In 1619, Altha Weyward is on trial for witchcraft, and whilst she’s in the towns prison she reminisces over her mother, her life before, everything she has learnt and the circumstances that led up to her incarceration. Altha had the knowledge needed to help people, but that same knowledge put her in danger from the church and general ignorance (and we can’t have women knowing more than men, can we!)
In 1942, Violet Ayres lives a very restricted life, tucked away from the rest of the world in her family home. She has only two clues about her heritage: her dead mothers locket with a “W” inscribed and the word “Weyward” scratched into the skirting board under her bed.
2019, Kate Ayres escapes a violent relationship in London and flees to Weyward cottage - the house her Aunt Violet had left her in her will. It’s a wild, unkempt, rundown house and garden, but it’s what Kate needs. She finds Altha’s diaries, some writings from Violet, and begins to learn about her true inheritance.
I just loved this book so much. Women taking control of their lives away from the men who would control them. Nature and magic is woven throughout, and nothing feels far-fetched or unbelievable.
I loved the alternating chapters between the three women, and this was probably the main reason why I couldn’t put it down. I needed to know what was going to happen to each of them next.
What more can I say? This WILL be high up in my favourite books this year. And to have read it in February!! How lucky am I!
I can’t wait to see what Emilia Hart writes next.
Many thanks to NetGalley and Harper Collins UK for my ebook copy of this book to read and review. Of course these are my own opinions!
Haley Mathiot (9 KP) rated Crime and Punishment in Books
Apr 27, 2018
**spoilers**
Crime and Punishment by Fyodor Dostoevsky. read by Anthony Heald.
Genre: Fiction, classic
Rating: 5
Sin, Sentence, and Salvation
The allegory of Crime and Punishment
Crime and Punishment, one of the more famous works of Fyodor Dostoevsky, is considered “the first great novel of his mature period,” (Frank, 1995) and is one of his more famous books, rivaled only by The Brothers Karamazov. What makes Crime and Punishment such a classic? Perhaps because it is a picture of the only classic, and greatest story of all time. Crime and Punishment is an allegory of Salvation.
Self-justified
The main character, Rodion Romanovich Raskolnikov, was a poor student at a university, and was overcome with hate toward an old pawnbroker, and decided to rid the world of her for the greater good of everyone. He believed that she was a “louse,” and since everyone would be happier without her, his actions would be justified. He believed that he had broken the letter of the law only, but that it didn’t have any authority over him anyway because it was written by people just as low as himself. He didn’t believe in God, and in prison he was convinced that he didn’t deserve his treatment, and that it was something he simply needed to get over with. He had no higher authority, so he said “my conscience is at rest.” This is a picture of man before he is touched by the merciful salvation of Christ.
A Troubled Man
Although Raskolnikov justified his actions in killing the old woman, he still felt an overwhelming sense of guilt and fear over what he did. He worked very hard at keeping it a secret, and at first he thought he could live with the guilt that sat in back of his mind, but he was wrong. Raskolnikov had horrible dreams, was always sick, and one of the other characters noticed that he was constantly “set off by little things” for no apparent reason (though the reader knew that it was only because it reminded him of his crime). This represents a man who knows in his heart that he is a sinner, but who will not turn and repent from his sin.
Unending Love
Sonya Semyonovna Marmeladov was the daughter of a drunkard who “took the yellow card” and prostituted herself to support her family. Throughout the book, Sonya began to love Raskolnikov. Eventually, Raskolnikov told Sonya his secret. Sonya was horrified, but still loved him and forgave him after her initial shock wore off. As Raskolnikov was fighting inside with his conscience and his sins, he repeatedly snapped at her, refused her comfort, yelled at her, and so on. He was a bitter, angry, hateful man—and yet Sonya forgave him for everything he did to her, and everything he had done in his past. What redeeming quality Sonya saw in the wretch and why she forgave him, one cannot begin to comprehend; aside from the simple truth that Sonya was a loving, gentile, merciful girl. She saw that Raskolnikov needed someone to love him and she reached out to him, even when he repeatedly pushed her away. Sonya’s love for him is a picture of Christ’s unending and perfect love to His sinful people.
A Silent Witness
When Raskolnikov finally broke down and confessed his crime, Sonya moved to Siberia with him. Raskolnikov expected this, and knew that telling her not to come would be fruitless. She visited him often in prison and wrote to his family for him. But although Raskolnikov expected her to preach to him and push the Gospel in his face, she did not. Sonya followed the scripture’s instruction to Christian wives with non-Christian husbands in 1 Peter 3:1—“ Wives, in the same way be submissive to your husbands so that, if any of them do not believe the word, they may be won over without words by the behavior of their wives…” The verse tells women to be good examples of Christ to their non-Christian husbands rather than to preach to them and try to convert them, and that is exactly what Sonya did, even though she was not married to him. She did not try to convert him with words; rather she won him with her love. She did not push the Testament into Raskolnikov’s hands, he asked for it. When she did bring it, she did not pester him to read it. She had faith, and showed Raskolnikov the love of Christ through her actions. In the end, it paid off. Although Dostoevsky does not specifically say that Raskolnikov was converted, he does imply that he eventually became a Christian when he mused “Can not her own convictions now be mine?”
The truth will set you free
When Raskolnikov finally realized that he loved Sonya, he accepted that he was a criminal, and a murderer. When he finally accepted that he was a sinner, he repented and had a new life in him. He said he felt like “he had risen again” and that Sonya “lived only in his life.” By life, Dostoevsky refers to his mentality. Before, he had been a living dead man in prison. He was hated by his inmates, was almost killed by them in an outbreak, was unaffected by anything that happened to him or his family, and eventually became ill from it all. But after his resurrection, he repented from his sins, learned to move on with his life, and started to change. He began to converse with his inmates, and they no longer hated him. Sonya was alive in his “life” because of her love for him. When he was changed, she was so happy that she became sick with joy, to the point that she was ill in bed. Dostoevsky paints a picture of a redeemed man at the end of his novel—redeemed both by the law, and by God. This picture symbolizes the miracle of salvation through Christ.
An amazing Allegory
Dostoevsky was a wonderful writer because of his use of dialogue to tell the story, his descriptive scenes, his powerfully developed characters, and their inner dialogue. He often times told you that something was happening by only telling you what the character who was speaking at the time said in response to what was going on. For example, if Sonya was standing up, Dostoevsky would write “… ‘hey, what do you stand for?’ for Sonya had stood.”
He also painted such good descriptions of his characters, that by the middle of the book he didn’t have to say that Raskolnikov was musing in the corner of the room, glaring at anyone who was brave enough to look at him, while he stewed in grief under his old ratted cap, because you knew from how well he was described earlier and how well his character was developed from the dialogue, that he was doing exactly that.
His characters are so real, they almost frighten you because you see the things they do and feel and experience reflected in your own life. They are not perfect—in fact they are all incredibly flawed, but they are a joy to read.
His ending is superb, because he closes the story without actually telling you everything. He never says that Raskolnikov was converted, he never says when he got out of prison, and he never says that Sonya and he were married, but you know that it happened. The last scene of the story is so superb, it makes you want to read it again, just to experience the joy all over again.
But what really made Crime and Punishment the classic that it was is the picture of the best story in the world, the classic story of the world, showing through. The story of the Gospel, of Jesus Christ’s unending love and sin and salvation is clearly portrayed, and makes a joyous read.
Works cited:
Quotes are from Crime and Punishment by Fyodor Dostoevsky, 1886
Frank, Joseph (1995). Dostoevsky: The Miraculous Years, 1865–1871. Princeton University Press. ISBN 0-691-01587-2. (source found and taken from Wikipedia.com)
1 Peter 3:1 New International Version of The Holy Bible
Audio review: I had a hard time reading the book, simply because it was so huge that it was intimidating. I bought (ouch) the audio book of Crime and Punishment, recorded by Anthony Heald who did a fantastic job reading. His voices for the characters perfectly matched them, he felt for them, and he acted them. None of them were cheesy (yeah you all know how lame some male readers are at acting female voices). He read fast enough that the story didn't drag at all, but not so fast that you'd feel like you'd miss something if you didn't listen hard. I will definitely re-listen to the audio book.
Content: some gruesome descriptions of blood from the murder
Recommendation: Ages 14+
Crime and Punishment by Fyodor Dostoevsky. read by Anthony Heald.
Genre: Fiction, classic
Rating: 5
Sin, Sentence, and Salvation
The allegory of Crime and Punishment
Crime and Punishment, one of the more famous works of Fyodor Dostoevsky, is considered “the first great novel of his mature period,” (Frank, 1995) and is one of his more famous books, rivaled only by The Brothers Karamazov. What makes Crime and Punishment such a classic? Perhaps because it is a picture of the only classic, and greatest story of all time. Crime and Punishment is an allegory of Salvation.
Self-justified
The main character, Rodion Romanovich Raskolnikov, was a poor student at a university, and was overcome with hate toward an old pawnbroker, and decided to rid the world of her for the greater good of everyone. He believed that she was a “louse,” and since everyone would be happier without her, his actions would be justified. He believed that he had broken the letter of the law only, but that it didn’t have any authority over him anyway because it was written by people just as low as himself. He didn’t believe in God, and in prison he was convinced that he didn’t deserve his treatment, and that it was something he simply needed to get over with. He had no higher authority, so he said “my conscience is at rest.” This is a picture of man before he is touched by the merciful salvation of Christ.
A Troubled Man
Although Raskolnikov justified his actions in killing the old woman, he still felt an overwhelming sense of guilt and fear over what he did. He worked very hard at keeping it a secret, and at first he thought he could live with the guilt that sat in back of his mind, but he was wrong. Raskolnikov had horrible dreams, was always sick, and one of the other characters noticed that he was constantly “set off by little things” for no apparent reason (though the reader knew that it was only because it reminded him of his crime). This represents a man who knows in his heart that he is a sinner, but who will not turn and repent from his sin.
Unending Love
Sonya Semyonovna Marmeladov was the daughter of a drunkard who “took the yellow card” and prostituted herself to support her family. Throughout the book, Sonya began to love Raskolnikov. Eventually, Raskolnikov told Sonya his secret. Sonya was horrified, but still loved him and forgave him after her initial shock wore off. As Raskolnikov was fighting inside with his conscience and his sins, he repeatedly snapped at her, refused her comfort, yelled at her, and so on. He was a bitter, angry, hateful man—and yet Sonya forgave him for everything he did to her, and everything he had done in his past. What redeeming quality Sonya saw in the wretch and why she forgave him, one cannot begin to comprehend; aside from the simple truth that Sonya was a loving, gentile, merciful girl. She saw that Raskolnikov needed someone to love him and she reached out to him, even when he repeatedly pushed her away. Sonya’s love for him is a picture of Christ’s unending and perfect love to His sinful people.
A Silent Witness
When Raskolnikov finally broke down and confessed his crime, Sonya moved to Siberia with him. Raskolnikov expected this, and knew that telling her not to come would be fruitless. She visited him often in prison and wrote to his family for him. But although Raskolnikov expected her to preach to him and push the Gospel in his face, she did not. Sonya followed the scripture’s instruction to Christian wives with non-Christian husbands in 1 Peter 3:1—“ Wives, in the same way be submissive to your husbands so that, if any of them do not believe the word, they may be won over without words by the behavior of their wives…” The verse tells women to be good examples of Christ to their non-Christian husbands rather than to preach to them and try to convert them, and that is exactly what Sonya did, even though she was not married to him. She did not try to convert him with words; rather she won him with her love. She did not push the Testament into Raskolnikov’s hands, he asked for it. When she did bring it, she did not pester him to read it. She had faith, and showed Raskolnikov the love of Christ through her actions. In the end, it paid off. Although Dostoevsky does not specifically say that Raskolnikov was converted, he does imply that he eventually became a Christian when he mused “Can not her own convictions now be mine?”
The truth will set you free
When Raskolnikov finally realized that he loved Sonya, he accepted that he was a criminal, and a murderer. When he finally accepted that he was a sinner, he repented and had a new life in him. He said he felt like “he had risen again” and that Sonya “lived only in his life.” By life, Dostoevsky refers to his mentality. Before, he had been a living dead man in prison. He was hated by his inmates, was almost killed by them in an outbreak, was unaffected by anything that happened to him or his family, and eventually became ill from it all. But after his resurrection, he repented from his sins, learned to move on with his life, and started to change. He began to converse with his inmates, and they no longer hated him. Sonya was alive in his “life” because of her love for him. When he was changed, she was so happy that she became sick with joy, to the point that she was ill in bed. Dostoevsky paints a picture of a redeemed man at the end of his novel—redeemed both by the law, and by God. This picture symbolizes the miracle of salvation through Christ.
An amazing Allegory
Dostoevsky was a wonderful writer because of his use of dialogue to tell the story, his descriptive scenes, his powerfully developed characters, and their inner dialogue. He often times told you that something was happening by only telling you what the character who was speaking at the time said in response to what was going on. For example, if Sonya was standing up, Dostoevsky would write “… ‘hey, what do you stand for?’ for Sonya had stood.”
He also painted such good descriptions of his characters, that by the middle of the book he didn’t have to say that Raskolnikov was musing in the corner of the room, glaring at anyone who was brave enough to look at him, while he stewed in grief under his old ratted cap, because you knew from how well he was described earlier and how well his character was developed from the dialogue, that he was doing exactly that.
His characters are so real, they almost frighten you because you see the things they do and feel and experience reflected in your own life. They are not perfect—in fact they are all incredibly flawed, but they are a joy to read.
His ending is superb, because he closes the story without actually telling you everything. He never says that Raskolnikov was converted, he never says when he got out of prison, and he never says that Sonya and he were married, but you know that it happened. The last scene of the story is so superb, it makes you want to read it again, just to experience the joy all over again.
But what really made Crime and Punishment the classic that it was is the picture of the best story in the world, the classic story of the world, showing through. The story of the Gospel, of Jesus Christ’s unending love and sin and salvation is clearly portrayed, and makes a joyous read.
Works cited:
Quotes are from Crime and Punishment by Fyodor Dostoevsky, 1886
Frank, Joseph (1995). Dostoevsky: The Miraculous Years, 1865–1871. Princeton University Press. ISBN 0-691-01587-2. (source found and taken from Wikipedia.com)
1 Peter 3:1 New International Version of The Holy Bible
Audio review: I had a hard time reading the book, simply because it was so huge that it was intimidating. I bought (ouch) the audio book of Crime and Punishment, recorded by Anthony Heald who did a fantastic job reading. His voices for the characters perfectly matched them, he felt for them, and he acted them. None of them were cheesy (yeah you all know how lame some male readers are at acting female voices). He read fast enough that the story didn't drag at all, but not so fast that you'd feel like you'd miss something if you didn't listen hard. I will definitely re-listen to the audio book.
Content: some gruesome descriptions of blood from the murder
Recommendation: Ages 14+