Disclaimer: I received this ARC (Advance Reading Copy) in Kindle format via Net Galley. The book itself won’t be published until January 31st, 2015. It’s the second book in the Dream Chronicle Series.
Dream Shaper tells the story of a female warrior, Hyndla Shenvirl. Hyndla was found as a baby by the side of a lake, and was raised by kind villagers. They remain kind even when it becomes clear from Hyndla’s height that she isn’t of their tribe. There is war in the valley, and a grown-up Hyndla acts as a warrior and advisor for the the Tiria, who oversees many of the various peoples in the valley. I could go on, but frankly this part of the story was somewhat confusing. I’m not sure if that’s because I missed reading the first book of the series (Dream Singer) and the author didn’t put enough breadcrumbs to the first book to help new readers stay in the loop, or if it was simply written somewhat confusedly.
Regardless, Hyndla soon finds herself on a quest to find an antidote to a poison that could kill the Tiria and all her people. She hopes to find her own origins as well, if possible. Along with her come a strange man (Runolf Tocho) who shows up abruptly at the beginning of the book, and a small(ish) person (Armic Ril) whose people live under the ground in caves. There are surprises on the journey with a very large surprise at the end, which I won’t spoil.
To be brutally honest, this book reminded me of the first few books of the Cheysuli series by Jennifer Roberson. The first few books in that series were not written very well. The story was good; the characters were good; but the level of writing to get the story and people across was lacking. It improved amazingly as Jennifer Roberson continued to write, and that’s what I feel will happen with J.A. Ferguson’s Dream Chronicles. She’s got the bones of a decent romance/fantasy happening here, and I look forward to seeing how things will improve as she hones her skills.
Sometimes it’s nice to be squarely in the middle of the target audience. Although I am not sure whether anyone would have said ex ante that the audience for a police procedural set in an alternate history Russia with fantasy and science fiction elements was much more than just me. But Peter Higgins went and wrote Wolfhound Century anyway (without even knowing me!), and a bang-up book it is.
Investigator Vissarion Lom is having a tricky time in the provincial police department of Podchornok, in the far eastern reaches of the Vlast, as the novel’s not-quite Russia is known. It seems he’s more interested in enforcing the law than in getting along, more likely to follow the threads of evidence regardless of where they lead than to uphold the status quo. That has long been a route to a short career in Russian policing (though obviously not only there), and indeed as the novel begins some of the birds whose feathers he ruffled in the backstory are coming home to roost. Continue reading
This is a classic Joe Hill horror story. A reclusive, somewhat bitter former rock star, Judas Coyne (known as Jude), lives away from people and collects macabre things, even a snuff film. He purchases a dead man’s suit, and finds that he is now the focus of a malevolent ghost. There’s a reason for the malevolence, and Joe Hill does a good job of building up interest in why Jude is the man he is, and the struggle he has facing up to his own internal ghosts while finding a way to deal with the external one. The characterization of Jude is well-done, but other characters are less comprehensive. And, as always, the author is the master of the cliff-hanger sentence at the end of a chapter.
I enjoyed this book. For me it was light, quick reading, and the story kept me interested and involved. I’ll be reading more of this novels in the future. Keep a look out for a review on his book Horns as well.
I gave this book 5 stars on Goodreads because I got so caught up in it. On the surface it’s a puzzle/mystery kind of story. A female author named Senna Richards wakes up on her 33rd birthday to find herself trapped in a strange house with an emergency room doctor who once treated her and then dated her. She soon realizes that the house is itself an elaborate puzzle that will force her to face her past, and the abuses therein, before she can find her way home. This ends up being a very long process because Senna is not someone who is open to facing things; she prefers to close everything down – thought, emotion, action – and be alone rather than risk being around people. The author, in my opinion, got it right when it came to writing about abuse victims and thought processes of those who have been abused. I think that’s part of why I liked the book so much. The puzzles within the house and the mystery of who had put her there were good as well. The only disappointment I found was the twist at the end. It wasn’t a very good twist, but the book is still a good read and worth the time. Just be prepared for the discomfort of facing things like rape with very clear focus.
I like most things by Chuck Palahniuk, mostly because he always pushes the envelope, even when or perhaps especially when it leaves people outside their comfort zone. This particular book explores sexuality and women in a way that’s distressing to an extent. I couldn’t really decide if he was drawing women as superficial pleasure seekers who would give up anything for the perfect orgasm, or making wry comment on the human condition. I suppose there’s no reason it couldn’t be both.
Penny and Linus are the main protagonists. Penny is a young intern who hasn’t quite managed to pass the bar, and Linus is a famous billionaire/inventor/scientist that the entire world watches. He invents a series of sex toys for women that overcome the world, in that every woman ends up abandoning her usual life for the pleasure of these toys, these little inventions that know everything a woman’s body could possibly want when it comes to pleasure. Penny discovers that they hide an evil little secret, however, and therein lies the crux of the plot.
I’ve seen better fleshed-out characterization from Chuck Palahniuk, so the fact that the characters were somewhat flat was a disappointment, but the story itself kept my attention. I wanted to know what was going to happen and so I kept reading, and yes, despite my quibbles over depth of characterization and such, I enjoyed it. I was horrified and shocked and interested and the questions raised in this world the author created made me think.
Thinking is good. Pushing the envelope of what you’re comfortable with is good. This book isn’t for everyone, but it’s good.
This is the third book of a series that is beginning to become extremely interesting. It was good to begin with, but as the story continues it becomes even more layered, with complex plotting and characterization that a reader can really sink their teeth into.
The tale involves 4 boys at a Virginia prep school who are on a quest to find a mythical Welsh king. It’s not an ordinary sort of quest, and these are most definitely not ordinary boys. In the process they meet up with a group of women living in the small town (at 300 Fox Way) where the school is located, woman who are psychic and unusual and just as fringe in their way as the boys are.
The mixture is delightful and infuriating and there are conundrums within enigmas, such as how Blue Sargent (the teenage girl at 300 Fox Way), who is not a seer, actually saw (in the seer kind of way) a spirit on St. Mark’s Eve. According to the mystical women she lives with, that means either she killed the person, or the person was her one true love, or both. That person is Gansey, one of the Raven Boys who are questing for the Welsh king.
In this third book, Blue becomes even more entangled with the Raven Boys and becomes an active part of their quest rather than just an interested onlooker. The relationships between the four boys and Blue are well-developed, and I found myself rooting for everyone involved, even the less likable characters. You find yourself wanting this quest to succeed, and for everything to work out. Part of the hook of the series, though, is that you can’t be sure it will, and so you keep coming back for more, eagerly awaiting the next book to find out what happens NEXT.
I’ve read the first Discworld novel, The Colour of Magic, several times, but I had never taken the plunge and dived deeper into the series. I missed them, somehow, when they were new and I was devouring almost all the fantasy in sight. Then I was overseas for a while and doing my best not to accumulate books (it didn’t work). After that, I was in grad school and reading other things (history of the Polish-Lithuanian Commonwealth, how are ya; also, Nagorno-Karabakh). Suddenly, there were twenty Discworld books. Now I’ve been overseas a lot longer, and while I have given up on not accumulating books, I am more conscious of what I give shelf space than I would be if I lived on the same side of the ocean I was born on. (E-reader people, hush; I want the kids to be able to find the Discworld books that I do have.)
Now, thanks in part to conversations with this blog’s Laura, I am giving it more of a go. Thanks to a random trove I stumbled upon in Basel, I have about half a dozen of the earlier volumes (online retail people, you can hush too; I like serendipitous discoveries in the physical world); Mort is the first one that I have read, though it is the fourth in the series.
One of the critical assessments I’ve heard about Discworld over the years (though I can’t pin down a definitive source of this view) is that the early books are good fun and all that, but about a dozen or so books in, Pratchett started writing novels that were Really Good. I guess I will see when I get there — and a startling transformation has precedent in F/SF, most famously between early and middle Robert Silverberg — but my sneaking suspicion is that Pratchett was writing the Really Good ones all along, and it just took that long for the audience to notice what he was getting up to.
Certainly by Mort he’s already writing with the effortlessness of a mere six or seven drafts, casting off careless asides that had me chortling, and deftly sketching people and places. The action is fast, the characters reveal unexpected facets of themselves and almost incidentally Pratchett says interesting things about people, love, life and death. I suspect that with Discworld, it’s good novels all the way down.
Oh my God, where to even start with reviewing this book?
Okay, it is exceptionally, intelligently plotted. The plot twists are surprising and smart, the moral quandaries meaningful and moving. As far as story and world-building goes, Elizabeth C Mock has come up with something to rival Brandon Sanderson or Jacqueline Carey.
“Wait,” you’re asking. “If this is the case, why have I never heard of this amazing fantasy author?”
Because, dear reader, her writing is incredibly bad. So terrible that I was going to give up after the prologue. Before I took that desperate step, though, I went to Goodreads to see what others thought of the book. Fortunately, the reviews were uniformly encouraging, even as they warned that the book was in urgent need of a good editor. And while that is true to a certain extent, what the book really needs is an author with more experience in writing and, dare I say, reading. The book feels like it was written by an exceptionally deep teenage girl, one with more experience of ideas than with actual conversations and human behavior. The dialog… no, it’s not fair to call it that. Instead, it’s mostly repartee, requiring far too much suspension of disbelief to read without feeling just exhausted. The prose otherwise ranges from decent to awful, which is likely why it took so long for me to finish an otherwise intriguing book. If you’re the kind of person who can overlook bad grammar and an adolescent idea of sparkling conversation, then by all means, this is the fantasy book for you. For everyone else, I hear tell that the author got a book deal with a publisher for this trilogy, and as they’ll likely shape it up pre-publication, I’d recommend waiting for that version to come out. I’m certain Elizabeth C Mock will come up with some amazing novels in future, and will look back on this version of Shatter wincingly, as great authors look back on their immature works. I’m looking forward to reading her stuff when that happens, but will happily wait till then.
Mira Grant (aka Seanan McGuire) seems a little bit like Midas to me. So far everything she’s written – whether it’s urban fantasy, superhero, apocalypse, or something else – has hit the mark and become gold. Symbiont, the second book in her Parasitology series, keeps up the excellent writing and the interesting plot. In some ways it feels like it will be more of a bridge between the first and (yet-to-be-released) third books than a full stand-alone, but that didn’t bother me because I was so invested in the characters after reading the first in the trilogy, all I wanted was to find out more of what had happened, was happening, and was going to happen.
The first book, (Parasite), establishes that medical science and in particular one corporation have changed the way the world works by using parasites modified in particular ways in order to fix a myriad of ills with the human body. Nearly everyone has one of these “medical devices” although the quality may differ depending on when you got yours and how much money you had available at the time. The fact that the medical aspects are so believable is what makes the rest of the series so exciting and horrifying and, well, interesting.
The second book goes beyond the first’s revelation (which I’m purposefully not telling you because everyone should be reading Mira Grant/Seanan McGuire all the time and NOW), and enters into some philosophical territory as well as exciting twists and a few escape/chase scenes. I’ve read criticism that this book loses its way a bit and perhaps doesn’t advance the plot as much as some critics might wish, but I’m a reader before I’m a critic, and I enjoyed this book thoroughly. There was enough plot advancement to keep things going, and the depth of the characterization within the book is extremely satisfying to someone like me. I want to know the characters and I want to know the world, and Mira Grant achieved both of those things with this book. Could it have been a bit more tightly written? Eh, maybe. Do I care? Nope.
This is a good book that is part of a good series, and if you enjoy science fiction and horror and flights of terribly possible fantasy, then read this.
Actors: Jay Baruchel, Gerard Butler
Directors: Dean DeBlois and Chris Sanders
Format: AC-3, Animated, Color, Dolby, Dubbed, Subtitled, Widescreen
Rated: PG (Parental Guidance Suggested)
Studio: DreamWorks
DVD Release Date: October 15, 2010
Run Time: 98 minutes
Special Features: Animated short film, interviews and behind-the scenes footage, deleted scenes, games
This week’s review is How To Train Your Dragon, by DreamWorks Animation. You know, the creators of the Shrek series. If you’re a parent, chances are good you’ve already seen this movie with your kids. However, if you’re like me, you don’t want to wrangle two rowdy kids in a theater crowded with other people’s unruly offspring. Thank goodness for DVD!
If you haven’t heard of How To Train Your Dragon – you know, because you’ve been living in a desert cave without an Internet connection and only migrated to civilization within the last month – here’s a quick peek at the DVD trailer:
Based on the book of the same title by Cressida Cowell, How To Train Your Dragon is the story of Hiccup (Jay Baruchel), the misfit son of a Viking chieftain. Hiccup is desperate to kill one of the dragons that continually raid his island home and improve his social status enough to land a date with Astrid (America Ferrera), the prettiest and toughest girl in the village. Impressing his father, the legendary Stoick the Vast (Gerard Butler), wouldn’t hurt either. Unfortunately, Hiccup is stuck in the forge where he is apprenticed to Gobber (Craig Ferguson), blacksmith and trainer of the next generation of dragon slayers, who has the onerous task of keeping Hiccup out of trouble.
During a raid, Hiccup sneaks out of the forge and uses one of his many inventions to attack a Night Fury. These mysterious creatures are the most elusive and feared of all dragons. To make matters worse, Hiccup’s contraptions never work and usually backfire. No one is more surprised than Hiccup when his latest invention succeeds. Hiccup tracks the injured dragon to a secluded valley but can’t bring himself to kill it. Instead, he befriends the dragon, which he dubs “Toothless” because of its retractable teeth. As the weeks pass, Hiccup discovers that dragons are more complex than anyone in his village realizes.
Like the real stars of this movie – the dragons – How To Train Your Dragon is more complex than it first appears. Beyond the obvious theme of a boy coming of age, How To Train Your Dragon explores the relationship between a father and son, demonstrates why it’s always a good idea to get to know someone before judging him, touches on the abilities of the differently-abled (Gobber is missing a hand and a foot but hardly seems to notice), and even the value of animal research as Hiccup spends hours observing the Night Fury. How To Train Your Dragon is a step up from the usual DreamWorks scripts, which rely heavily on cliches and pop-culture references. I credit the improvement to the writing and directing team of Chris Sanders and Dean DeBlois, who also created Disney’s Lilo and Stitch.
I’m not an expert in animation techniques, but I thought How To Train Your Dragon was gorgeous. In my opinion, it’s second only to Avatar. The flight sequences might be better. I know my kids loved them, because my preschooler spent days “flying” around the house after watching this movie. We rented the single-disc DVD rather than the 3D BlueRay and the effects were still superb.
The only criticism I have for How To Train Your Dragon is in the casting. Why do the adult Vikings speak with Scottish brogues?!?! I admit my ancient history is a bit rusty, but I’m fairly sure the Vikings were from Scandinavia, not Scotland. Don’t get me wrong, Gerard Butler is an excellent actor and I can’t think of a better choice to play Stoick. Likewise, Craig Ferguson’s portrayal of Gobber is the perfect combination of humor and eccentric mentor. I just wish DreamWorks had hired a dialogue coach to give them Nordic accents. This small detail is the only thing keeping me from giving How To Train Your Dragon five laurels. Maybe I’m nitpicky, but the incongruity grated on my nerves.
Overall, How To Train Your Dragon is great fun for the whole family. It’s full of quotable lines and everyone will have his or her favorites. My personal choice comes from Hiccup during a flight sequence:
“Thank you for nothing, you useless reptile.”
Jay Baruchel delivers this line with a perfect, dry wit that had me laughing as loud on the third viewing as I did on the first. How To Train Your Dragon is definitely going on my holiday wish list.
Al Singh
Doug Merrill
Doreen Sheridan
John Pitzel
Lars N. Goldschlager
Laura Eilers
Professor X
Robert Maedgen
Sylvere Ap Leanan
The Shire