N. Mahurin

Most of the stories leave you with a feeling of what the hell? Was more surprised when the ending worked out. I enjoyed the subversion of expectations and the use of the mundane as fright. As per usual, some didn't hit for me. But I thoroughly enjoyed "Shock Wave" as the final one. Would recommend as a foray into his writing for sure.

I planned on reading one small story at a time. The novella drug me under. I did not come up for air until the last page. My feeling at the end was: "Well, ain't that just the way?" There was something poignant in each one. Just enough description and pacing for me.

This novel resembled a museum exhibit. It was something whose pages I entered, experienced, thought about after I left, and now, it is somewhere I've visited. A series of words intended to be felt and studied. It left no particularly profound effect on me, and yet I can sense something within me has been irrevocably changed. The nature of this text has always been polarising, and it's interesting to feel exactly that. It is not mine to have an opinion on.

DNF at page 51.

Interesting premise, lovely idea. Poor execution. The prose is dry. I had no indication of what anybody looked like nor grounding in the scenes. The slapstick element missed hard for me. I wasn't expecting super serious horror per se with a museum of oddities — but I was expecting cohesive and alive. This is neither.

Some things took me by surprise. Other things did not. The plot itself was simple, the melding of two worlds even more so. It was spoken about in a complex way. When there were rambles, they mostly interested me and always had a pay-off of some kind. Sometimes, it's about the things which are left unsaid. Not everything in life can be tied up in bows and ribbons, signed and delivered to the doorstep. Sometimes we get lost along the way and never reach the original destination. I will not re-read it, but I will keep it forever.

I read this for a book club as January's pick to explore some "romantasy" that seems to be taking over the shelves. For me, this was a rather middle of the road one. There were things I enjoyed, and things I didn't, as all things are. Here's what I liked:

1. It was a quick, simple read. Easily digestible. I read the entire thing in less than two hours of timed reading. It flowed very quickly.
2. It was fun in a corny way. It was like the fantasy version of watching a classic cult film like "Scream" ( quality of prose non-withstanding ). Pretty hilarious dialogue bits, some of the cheesiness that I expected. The "You missed." made me laugh out loud.
3. Mean Girls, as the Hunger Games, with dragons. Not necessarily a bad thing. It reminded me of my teenager telling me all about high school and its escapades.
4. The erotica was some of the better I've read, despite that corniness as well.
5. Her being pale being given an actual reason, confirmed by the author, as disability rep was a pleasant surprise. Also, the willingness to let Violet appear weak, which is a novelty.
6. I loved Xaden's innate ability and dragon bond. ( No more info here to avoid spoilers. )

What I disliked or could've left outside the door:

1. Too digestible. I know she made this as a more accessible fantasy read, but there is a difference between accessible and blank. I rarely knew what was going on in the world itself. I couldn't tell you a thing about how the Wings work, what the Dragons have going on, the politics besides the mentions of war. I had little descriptions to ground myself in, and the ones I did have ... ( see point 2 )
2. The descriptions were vapid. If I read one more "soft brown eyes" or "tender squeeze of the bicep" I was going to throttle the protagonist. I also understand it's intended to be romantic fantasy, but I was sore for the fantasy elements. I wanted more about the bonds, I wanted more serious emotions. Being "told" how I was supposed to feel via Violet saying it multiple times did zero for me.
3. Re: cheesy dialogue. Some of it should've been unwritten. The attempt at the love triangle was dubious.
4. Although "pale skin" is given a medical representation reason, considering the over-saturation of focus on protagonists who are light-skinned, and knowing Violet's other family members are briefly said to be darker / medium, I do wonder if there is some colourism, unintentional or otherwise, in this choice. Not everybody with EDS goes pale.
5. I appreciated the signs of weakness; at the same time, that did need to be balanced. The "saving" mechanism only worked up until the third time. Also, if she received one more injury to the ribs, she would be dead by page 150.
6. The second erotica scene contained some elements that made me laugh. I'm sorry.

I will not be continuing the series, but am glad I read it.

A sorrowful, poignant, character-driven novel (sometimes to a fault) that has multiple climaxes (the pun is intentional) and just as many emotional spirals. Although I did not feel as though there were moments to breathe, and I would have liked the setting to be as tasty as the characters, I found myself invested in how it would end, and it ended rather satisfyingly (and bravely). I took off a star because of the slight detachment I experienced in some parts and because for me, this will be a once-read book. But it is worth reading for the insane historical accuracy; a true historical drama at its best.

It was a highly well-done book, for a debut. Of course, there were parts where I wanted to know more, and discover better and more things, but the glamours were interestingly done ( and! the most described part of the text ) and the love interest was a twist I very honestly didn't see coming, which was a pleasant twist in and of itself. I would have liked a slightly more ... thrilling? Plot, when it came to the ultimate conflict, but since it was meant to be reminiscent of Austen and Brontë, I can forgive this. Because it was well-done in that particular style, and I enjoyed it immensely. It was also a quick read; I finished it in a day, and it swallowed me to the very end. I very much look forward to reading more by Kowal.

Not as diversity-loving, and the amount of times that Nancy and friends endured car accidents, being hit in the head with blunt objects, or being attacked by water is startling and a bit worrisome. But the novels are meant to be that sort of historically-intrinsic version of drama, which means something so outrageous and consistently “out there” has to happen at each twist and turn. Still an enjoyable ride, a pleasing palette-cleanser, when taken at face-value for what they're meant to be. A team of women, all of whom have a wide set of skills and help each other, solving cases, is also nice to read.

The Nancy-Drew version take of Gothic elements. Honestly, swallowing these up as a nice break from more serious reading. The seances added an even more mystical touch, in my opinion, and matches up with the concept of it all truly being a fraud! (Depending on what you believe, hm?)

I first read this novel at university for a various-genres literature course. I didn't quite understand it then, although the analytic lens I acquired during the class definitely helped me understand it now, and appreciate it even better. This is the epitome, for me, of a slice-of-life novel; Steinbeck, as I wrote in the margins of one paragraph, “continues to be ingenious,” and that stands for me. The switching of different perspectives ( of different slices of life ) in-between the chapters wasn't boring, and there was nothing that rambled on that didn't come back around full circle. Each character, no matter how minor or major, had a distinct personality and a distinct purpose in the place of Cannery Row as a whole. Reading about this kind of place for me was the definition of relatable, even some near-one-hundred-odd years later. And it's because of this ability that Steinbeck has, to continue to be found and relatable, that makes me apt to give it five stars. I recommend Cannery Row for anybody who is older, and has had life happen to them, and needs to see it written down somewhere.

The adventure continues.

As spellbinding of a narrative, with more delving into character backstories. The development of a certain few has me nailed to the chair, continuing to read for more. I had to knock off a star for some of the arguments and misunderstandings, but that's a personal non-preference. The ending, without providing spoilers, is one that made me pause and tear up. I'm not sure if this is age catching up with me and making me want hopeful things, good things, things full of revelation — but I loved it. The reason doesn't matter. The star also got knocked off because, the pacing was still good, but not as much so as the first one. Regardless, I would re-read it, so, who's the real fool?

The shifting in perspectives, and the particular absence of one, was enough to pique interest all throughout. There are also certain scenes (spoilers, spoilers!) that had me rooting. Robert Jordan has this knack for spreading out the different chapters in a manner where, even if you don't necessarily like the POV that you're reading, you continue to read in order to get back to the chapters you do. And I'm not disappointed yet. I am a bit uncertain about certain character arcs, not quite sure how some (who are lagging behind) are going to catch up, but I suppose that's what the rest of the books are for.

An exceptional dive back into the fantasy realm that I didn't realise I was sorely missing. I watched the show first, and then have picked up the novels after feeling both scintillated and disappointed enough in certain parts of the show, upon recommendation from someone. (Who has been recommending them for several years, but here we are.) And I can see why.

The world-building is sublime, and somehow, easier to follow than most of the novels I've read, despite how there is so much of it all at once. Robert Jordan is a crafter at these tidbits, not ever truly succumbing to information-dumping. His characters read as real, true people. There was so much dialogue, I was a bit uncertain if it would become dried out, or redundant; but it was balanced, and the interactions were enough to whisk you away right into them. The pacing was also excellent; for me, I never felt bored. There were enough pause moments, arguments, and developments in silence, that I felt like things were slow; but there was also the endless sense of urgent danger, of the chase, of the shadow following after, that it was never a wondering of whether or not there was a point.

All in all, I'm looking forward to travelling alongside them as they continue their adventures. I'm already gleaning my favourite characters out; and despite some things perhaps being a bit “I saw that coming,” it's delivered in a method that makes me feel satisfied for guessing. There are also plenty of things that I didn't really see coming.

Despite not having the largest question answered, Tartt's prose pulled me into the inner workings of this southern-gothic narrative. The switching of perspectives provided such a rotund, complete picture that, as the story carried on, I didn't quite mind as much as before that my question wasn't being answered, and that more were being put in its place. Isn't that such the way as life, where it is disorganised and dissatisfying? Believing one thing, and perhaps that is not the truth at all, but you never know it? The lack of closure is disturbing, and I think a lot of people will be turned off by the fact that it doesn't answer “The Question,” but it's still a thrilling tale that made me give a damn about the characters and their fates.

This was definitely not my cup of tea. I looked forward to reading it considering how much it has been talked about. This has nothing to do with her prose, per se; because I really enjoyed a lot of the colourful descriptions, and I got a clear sense of the fantasy-world and what things are like. However, Ged as a main character was an absolute trifle and difficult to read about. And that latter point is exactly what I felt like I was doing: instead of becoming involved in the story, what Ged was feeling or what he was thinking, or the action taking place, I instead felt like I was reading a scribe's account. The prose was ‘telling prose,' and I quite literally felt like things were just being told to me. Even the dialogue was stiff, inserted like they do in the older Greek tales. And I'm not a fan of feeling outside the narrative. Considering the story and the magic worked, it could have only been improved and more enjoyable with 1. more time spent on some things and 2. more deep-diving into what was going on. It felt surface-level, and it was difficult getting through the last chapter. Despite this, I will be attempting to read the rest of the series, and will see how it progresses into later books.

Leaves behind a nostalgic taste in the mouth, like childhood snacks. As usual, left with wanting more. It ended right where it should have. The penultimate chapter was a bit of a rush to the finish, but the sweet sadness of the final chapter more than made up for it. Poignant, makes a person think about a life and the death that comes after it, makes a person want to value it. Regardless, would recommend for a bright, quick, intellectual read.

If being picked up as a novel to read lightly, you might as well put it back down again. And if I hadn't known what this was meant to be ( WWII propaganda, enough so that people were put to death over owning a copy ), then I probably wouldn't have thought of what to look for, nor would I have enjoyed it as much as I did. Because of this, and taking into consideration the audience it was intended for, it was a well-crafted novel, thoughtful and a punch to the gut. As a “novel” distanced from meaning ( which I don't believe in doing, but might as well add this ), it's average. It's not exactly Steinbeck's best round of prose, though it does have its moments, and I often found myself wishing that more had been done with the material presented. Of course, it wasn't possible for him to have done more, but I digress. Either way, more than likely will be giving this a re-read in the future.

Last of the quartet for now. The least compelling for me, but still a page-turner. And exploring the whole concept of labour back in the late 40s? Alright, we can get behind it. There is liberation all around, at least, from the case and from the terrible treatment.

An interesting scuttlebutt of a novel, unexpected from someone like Alcott, but she never compromises her style nor her morals for the sake of being non-controversial. I liked seeing this side of her, and the plotline was so sensational, it kept me gasping. Despite how annoyed I became at the fact that the protagonist could never seem to truly escape her fate, Alcott gained my forgiveness for how much this happened with the ultimate climax and ending of the novel. It made me wish for something different, and for something worse and better at the same time. I would definitely read it again, although this is one of those novels that has a tingling sensationalism the first time, and then perhaps become lacklustre with re-reading, as you already know how it ends. Don't regret adding it to my collection nonetheless and I will definitely be reading the other novels that she's written like this.

A dramatic and classic tale of Victorian literature, quite a whirlwind from start to finish despite its plodding onward in drama. The psychological aspects of it were what made it so interesting, as well as Brontë's illicit and descriptive prose, although if I had been Lockwood, I would have departed from the Grange long before I ever learnt the history of the house. At times, the dramatics are so much, I think it more of a satire of the ideals of the time period, of romance and ghostliness and hauntings and madness, and that thought endears it to me. I found myself frustrated in parts of it, although the characters do not stray very far from their “I am irredeemable” pathways. And I liked the ending the best, how it's very circular. Read for the experience, not necessarily for the plot, as it's told in abstract and detached narratives - listening to another's account alongside Lockwood, for an example. It's made of a lot of telling as opposed to doing.

Unfortunately, this one was a miss for me. I enjoyed the story, I wanted to connect so much to the characters, but that part kept losing me. I felt as though there was an imbalance of telling vs. show and always felt somewhat at a distance from everything going down. I objectively enjoyed the twists and turns and how everything ended - but it was like looking at a photograph that got left out in the sun. The picture's intention is still on the page, but the colours are blanched and the edges are blurry.

A lengthy tome of a novel. I confess I haven't read the original edition of this, but after reading the uncut and un-abridged version, I don't think I'll be able to read any other. Whilst it definitely did have moments of dragging, each section provided a perspective that was interesting and painted a full picture for me of this post-apocalyptic world. The prose remained the same quality throughout all three individual books, and I got emotional at the [ SPOILERS ] of some characters, whether they were smaller interactions or larger parts of the puzzle. The plot was cohesive. There were a lot of lines and paragraphs that alternated between waxing on a little too long for me ( stream-of-consciousness is not my thing ) and being so hard-hitting, I had to put the book down and stare off into space. Not to mention, reading this in the middle of wintertime, when a flu pandemic is running rampant, sort of makes you not want to go outside. King doing one of the things he does best: taking something real and turning it and distorting it.

I am biased when it comes to reading, enjoying, and critiquing Lewis's works, and his lettres are no different. It soothes me to read that a prolific writer shares many of my personal views, particularly on how literature must be written and how modernism is... a certain set of fractured guidelines.

Of course, some of the tidbits of advice are outdated. Women do indeed enjoy fantasy, very much so, Mr. Lewis — and may we thank the Creator for that. Regardless of those that must be taken with a grain of salt, and with the time period of his life taken into consideration as well, this collection is a well-read, mindfully arranged collection of points to think about. To mull over and to take into an arsenal to improve as a writer. He has been there, done that, and speaks on it without much ego.

An unexpected, but pleasant, find.

A quick, fantastic read with a multitude of familiar characters. It reads as a novel would for children with the intention set in stone, but still has a lot of lessons adults could afford to learn from.