Elissa

Although I often felt so adrift in imagery and metaphor while reading this epistolary novella that I had a hard time grasping the ancillary plot elements, this inventive work left a smile on my face. The prose poetry of This Is How You Lose the Time War, if at times abstruse, gleams even when describing the horrific, and especially when describing the beautiful.

Note: unless I missed more here than I thought, it is never once explained how the protagonists travel in time. Some other key details I'd have liked to see elaborated include the inner workings of the protagonists' unconventional letter-writing and, indeed, the reason for the time war itself; these were either implied, glossed over, or outright ignored, which rankled me. If you must be told the “why” and “how” to enjoy a time-travel story, this book is probably not for you.

This book's saving grace is that it is not actually about the titular time war. At its core, This Is How You Lose the Time War is a romance, one that the travel back and forth in time and space ultimately serves to facilitate. In this respect, it tells a brilliantly original story of the triumph of love in the face of the horrors of war. I can't say I enjoyed this book until I really got into the rhythm of El-Mohtar's and Gladstone's worldbuilding-by-implication, but when I did get into it, oh, boy, did I.

First of all, I mean no disrespect to the sisters who endured the horrors detailed within the pages of If You Tell. I spent most of this book viscerally disgusted by the fact that a human being could do any of this to other human beings, let alone her own daughters. I feel for them; the trauma they suffered should not be minimized, and their stories should be told, so long as they wish it.

I will give credit to Olsen where credit is due: this is an incredibly compelling story. However, the same cannot necessarily be said about the storytelling. The structure of the book puzzled me: it seemed linear, except when it wasn't. Too many of the approximately ninety chapters (no joke) largely seemed to restate facts that had already been covered, making the book a slog despite relatively easy reading. Olsen's frequent employment of line breaks for emphasis quickly became a pet peeve, as did his use of “at once” to juxtapose two essential synonyms (i.e.—and I'm paraphrasing, because I've already returned the book—”It was at once repulsive and disgusting”).

I only saw If You Tell through to the end because I had to know what happened next. Some people surely will—and do—love this book; ultimately, I was not one of them.