Something happened to these delightful Jackaby novels,
and I’m not quite sure what. The first two books were fun and charming. Ghostly Echoes, though…I struggled to
immerse myself in it. It started off promising enough, but then characters
appear simply to voice author messages and political/social stances, and the
pleasant supernatural mysteries explode into a malevolent evil plot, complete
with a trip to the Underworld.
I think what I liked about the first two Jackaby books
was that they were urban fantasy/supernatural lite. There were supernatural
elements, sure, but those were intertwined with “normal” 1800s life. Yet this
book suddenly decides to introduce immense supernatural content (such as the
aforementioned Underworld, and a sinister Dire Council) with the mystery taking
Perhaps this is simply my dislike of supernatural books talking, much like how I struggle to enjoy science fiction. I also started disliking Stiefvater’s The Raven Boys when she started ramping up the supernatural. Or perhaps it’s my dislike of authors using characters merely as mouthpieces, which is what happens in this book with the character of Lydia Lee, who serves absolutely no purpose beyond plot convenience and soapboxing. Make those characters more interesting!
Whatever it is, my enthusiasm for Jackaby has dimmed
so much that I wonder whether I’ll even read the last book. To be honest, I
have no desire to find out what happens next. That disappeared when Abigail
took a trip to visit the dead.
I anticipated that The Crow would be my favorite of the Books of Pellinor so far, and I turned out to be correct. The absence of Maerad and pages of pages of her and Cadvan doing absolutely nothing helped make The Crow more interesting, though still just as massively long. This time, though, the book is cram-jam full of action, from the siege of Turbansk to Hem infiltrating the child army of Den Raven.
That’s not to say the book was perfect. It was still
way too long, and this time there was so much crammed in that there was almost
no time to pause before being slapped in the face with tension and action all
over again. I also really didn’t like the plot convenience behind Hem getting
his hands on the second half of the Treesong, and the fact that his trek across
the country to rescue Zelika was a complete waste of time (except for that
previously mentioned plot convenience—or should I say incredibly obvious plot
Speaking of Zelika, she was a bit annoying, and I’m
sure many people probably don’t like where her character goes and how her
character is used in the book, though it didn’t bother me as it was realistic.
I just am not fond of brash, headstrong characters who do stupid things. Hem
was better, though he got a bit annoying at times, too. I liked him more than
Maerad, as he seemed more normal and acted in a more understandable fashion
than Maerad’s odd weak/strong, passive/assertive ping-pong personality. He also
used more magic in one book than Maerad seemed to use in two, so Hem definitely
seems the more Bardic of the two and also seems to understand more about many
things than Maerad does, though perhaps my memory of the first two books is
simply failing me.
Despite the problems with the book, I still enjoyed The Crow for being much more fast-paced
and action-y than the first two books, as well as less clumsy in delivery. The
characters were more interesting and realistic, though I wasn’t fond of Zelika
and Hem had his bad moments, too. The worst part of the book is the obvious
plot manipulation in the last third, which made all the other manipulation
stand out even more.
The last book promises to bring together Hem and
Maerad in one last attempt to free the Treesong and defeat the Bad Guy before
he destroys everything. I remember not liking the ending, so we’ll see how it
Wolf Queen solves lots of the mysteries that were set up over Wolf Tower and Wolf Star and sends Claidi and Argul off on a happy ending, finishing up the Claidi Journals on a sweet, sentimental note—or, at least, that’s what the book wants me to think.
See, this isn’t actually the last Claidi book, though
it’s the last one I read. Lee wrote one more, though apparently wasn’t planning
to, based on the blurb for this book. I’m excited to read it to see what
happens, as that one will truly be a “blind” read for me. This book, Wolf Queen, wasn’t quite as jaw-dropping
as it should have been, since I’ve read it before and knew the big twist
already. However, it was nice to read it to see all the hints Lee dropped
Claidi’s voice is as delightful and unique as always,
and even though this book introduces some truly outrageous (in a good way, I
think) fantasy/sci-fi elements, her voice made everything somehow more
plausible and realistic. I wish it was explained more as to how, exactly, a lot
of the magic/technology works—we’ve got clockwork people, which I understand,
but then all there are also powerful items that operate on a “don’t pay too
much attention to the mechanics” level. Ustareth’s ring is one of those, of
course, and it did bother me a bit that there was no explanation as to how it
can do half of the things it did.
I wish each book didn’t hinge quite so much on “Claidi
gets taken places,” but, again, Claidi’s voice is so delightful that she could
probably stay in one room the whole book and it would still be interesting. These
books lack a bit of something that I
can’t really explain—they’re interesting, and I like them a lot, but they don’t
grip me like some books do. However, Claidi and Argul are adorable, and the
draw of the books is Claidi’s voice, not complexity of plot or stellar
worldbuilding. I can deal with that—and I’m looking forward to exploring Wolf Wing, the book I never read, and
seeing if Lee can surprise me.
Up a Road Slowly, by Irene Hunt, was published in 1966 by Modern Curriculum Press.
Up a Road Slowly reminds me a little bit of a lesser Anne of Green Gables, but much more of Rebecca of Sunnybrooke Farm, except with less moralizing and a nicer aunt. It’s the story of Julie, who at seven goes to live with her aunt after her mother dies and learns new meanings of love and family as she deals with her older sister getting married, her wild uncle, school rivalries, the death of a student, and boyfriends. However, like Rebecca, it’s much less tongue-in-cheek than Anne, and it uses a ton of plot tropes and language that is extremely reminiscent of older literature and really dates the book.
The writing style is a little old-fashioned and very mature-sounding, even when Julie is only seven (something that is a bit jarring until you get used to it). As Julie gets older, however, she grows into her voice, and I do believe the whole thing is supposed to suggest that Julie is writing this as a memoir from later on in her life. As far as plot and theme go, I thought Hunt’s messages were very good, though they were often delivered in ways that wouldn’t be acceptable today. For example, the description of Agnes, Julie’s classmate who suffered from some sort of mental disability, made me wince a bit, though that would have been an acceptable description in the 60s. However, the language as a whole really gives the book much more of an old-fashioned feel than I think the decade it was written in warrants.
There’s also quite a few dark themes hidden in the book, the most notable being Julie’s old friend Carlotta being “sent away” for the winter after scandal erupts (i.e. she was pregnant). The book as a whole is really quite mature for a children’s book, much more suited for a young adult audience (who would probably understand it and enjoy it more).
I enjoyed Up a
Road Slowly, but I didn’t find it overly impressive, and I think it’s too
dated to really stand out. The maturity of the themes and the writing were
welcome after some of the rather more childish books I’ve read, but that limits
the audience as well as alienates them. A good book, but not one I’d probably
Brandon Sanderson is always so consistently good as a
writer—his plots are intricate, his characters are fleshed out, the
worldbuilding is superb, and there’s always a bit of humor thrown in to mellow
things out. Skyward is no exception.
I don’t normally like science fiction, but Sanderson makes it interesting—and
understandable. One of his trademarks as an author is complicated, but
understandable worldbuilding, and in Skyward
everything from the caverns to the planet, but especially the fighter
ships, is meticulously explained in a way that makes sense and that flows from
the world naturally.
This book was very hard for me to put down, since Sanderson is so good at pacing and tension. While perhaps not as fun as Steelheart was, with all of its superpowers, Spensa and the other members of her flight crew made the book come alive and made me enjoy every minute of it. I also enjoyed the mysteries surrounding M-Bot, Spensa’s spoiler-y ability which I won’t really talk about, and Doomslug (who may not be mysterious, but certainly seems that way). And did I mention that I normally dislike science fiction to the point where it’s hard for me to enjoy any book of that genre, regardless of writer or quality? Yet Sanderson made it as interesting and exciting for me as any book of another genre because he’s so good.
All right, I might be biased (like with Diana Wynne
Jones), but I did really love the book. I found a few things problematic
towards the end, especially with the big reveal about Spensa and the Krell that
I thought was perhaps delivered too fast (though there’s room in the sequels to
explore all that, I suppose) or not explained enough, but Skyward was an excellent, fun adventure all the way through.
The thing that stands out the most to me in The Claidi Journals is Claidi’s voice. The parentheses, the random asides, the subtle sarcasm and wit, all combine to make Claidi distinctive, unique, and memorable as a protagonist. And Lee is so good at following old tropes, and yet somehow making them new.
For example, in Wolf
Star, Claidi is kidnapped and taken to the mysterious Rise and must figure
out a way to escape. Although she never actively tries to run, her reasons for
why she doesn’t are relatable and make her more realistic as a protagonist.
Then, as she gets to know Venn and is intrigued by the mysteries of the moving
rooms and the clockwork servants, her curiosity is what makes her stay. And I
love the contrasts set up in this book: the contrast between Venn and Argul,
between Ustareth and Zeera, between Wolf Tower and the Rise, and even between
Claidi-before and Claidi-after.
Star is strange, and not much happens—it’s much more of a
character-focused novel, intent on exploring a particular backstory, than an
action-packed novel. There’s less excitement and movement than the first book,
yet this one has excellent pacing and worldbuilding to make up for it. The one
thing that jarred me was the revelation of Argul’s age—he doesn’t seem, and has
never seemed, like an eighteen-year-old. A strange thing to complain about, but
it caused a disconnect for me.
I can see not everyone liking these books. Wolf Star in particular seems framed for
a very specific audience; it’s a strange book in its flow and in its story. I
loved it, but I enjoy books where the protagonist is witty, but not ridiculous;
brave, but not aggressive; faltering, but not bemoaning. Claidi is all of that
The Riddle is the book that I probably remember most of the Books of Pellinor. The ending of this book is the ending that I thought was in the first book. I remember when I read it the first time that I thought it was a very sweet and poignant scene, but this time around was more of a “shrug, meh” moment. Maybe because I remember absolutely hating the ending of the fourth book, and the ending of the second book is the precursor to that.
Anyway, The Riddle continues to be Tolkien-esque. It’s a hefty book, though to be honest, I feel like most of the first half of the book could have been left out. Maerad and Cadvan spend weeks on an island for no reason. The most interesting part of the book is the second half, when Maerad traverses the ice lands in the North and is then taken to the domain of the Winter King. Croggon does a little better with worldbuilding overall in this book, though there’s still the feeling that there’s so much she isn’t covering beyond the Bardic system. Her world feels so empty most of the time, full of no one but Bards and enemies.
The series as a whole is very female-centric, and this one in particular is full of choice and empowerment and all that jazz. Personally I found Maerad’s struggle in the Winter King’s domain too much; her actual struggle to escape was fine, but the other bit that Croggon wants to get into, well, that was developed far too quickly and resolved far too quickly to seem like anything more than another character obstacle for Maerad to overcome.
I feel like there’s so much here in the book that I would love if it was revealed or developed in a different way. If I liked Maerad more, I might enjoy the books more, but she’s too…something…for me. I can’t really put my finger on what it is about her that I don’t care for. It’s like she’s too timid, but also too fierce, and I still don’t understand the magic enough to understand why she’s so powerful. I also don’t like the clumsy way Croggon is working in all of the “Fated One” stuff.
If I remember correctly, the next book takes place from the point of view of Hem, which may or may not be a nice change from two books of Maerad. I don’t usually like viewpoint changes, though, so I don’t know if it will matter for me. I’m two books in, so I think I will finish the series, but The Riddle didn’t do much to recommend the rest of the books to me.
Summers at Castle Auburn, by Sharon Shinn, was published in 2001 by Ace.
Summers at Castle Auburn has been on my reading list for quite a while—since the first Sharon Shinn book I’ve read (The Safe-Keeper’s Secret), I think. The title, plus the rating on Goodreads, plus my love for 2000s fantasy, all contributed to my desire to read the book. It took me a while to actually get it, though.
But, boy, did it not disappoint.
Now, I’ve read other books that are more immediately gripping—The King of Attolia, for one—and it’s not the type of book that I feel I could read over and over again. But I enjoyed it the way I enjoyed Juliet Marillier and Kate Constable—and Shinn’s other works. It’s slow, and meandering, but there’s so much to think about and to see develop.
The book is pretty slow up until about the middle, but once you get to the middle, you see why the first part was important. There’s a bit of odd stuff scattered around, but it all contributes to the world and to the characters. The most prominent is the aliora, which seem like a pretty useless addition—take them out of the story and everything stays the same—but they do contribute to the world in a way that perhaps wouldn’t be as effective if they had been left out.
There’s a lot of court intrigue, which I loved, but the best part is that its intrigue interpreted through the eyes of someone who isn’t really involved in all the intrigue. So we see parts of it, and only get hints at the rest. The best part of this intrigue is, of course, the slow reveal of the character Bryan’s personality and tendencies, as he goes from flirtatious, energetic teenager to smiling monster. And, of course, my favorite part of the book was the ending, where intrigue collides with tension, and there are several big character moments for all of the main characters.
Shinn does make a small error towards the end—basically, Corie tells her sister something, and then later on wonders how her sister knows about that thing—but everything is so well paced and revealed that I could ignore it. And what I mostly cared about was the romance, which was maybe not as romantic as some people might like, but it was very well-developed, and I loved what it had to say about love and about how sometimes loving someone means doing something you normally wouldn’t do.
I’m not sure Summers at Castle Auburn will be on my “Could Read Again” list, but I thoroughly enjoyed almost every page of it—even the slow beginning. Shinn and 2000s fantasy prove their worth again!
Recommended Age Range: 14+
Warnings: Dark themes (murder is the most prominent, subtle hints at rape)
Beastly Bones continues the oddball, eclectic fun that I loved so much about the first novel. Central to that fun is, of course, Jackaby, who’s basically a nicer Sherlock Holmes (at least in the Sherlock iteration), but various side characters also contribute. Abigail Rook, though portrayed as the serious, “let’s bring this back down to earth” type of partner, also has her moments, especially in her awkward moments with Charlie Barker.
This book has a much better mystery than Jackaby did, though once the revelation came, I realized that I probably should have figured it out sooner. I didn’t, though, so I was delightfully surprised. And I liked the introduction of a Shadowy Figure, as it gives a united goal and an arc for the books, though I honestly wouldn’t mind if each book was separate and only united in characters and other minor details (like Jenny’s backstory).
These books have been really fun so far, and I’m hoping the quality of mystery improves without ruining the fun of the characters and the quirky nature in general. I like mysteries just a little more detailed and involved, but that might mean not having as much fun in general. And these books were clearly written to be fun.
Also, the covers of these books! To be honest, if it was just the silhouette and the title, it would be perfection. The picture in the middle kind of ruins it a little, but they’re still very pretty. I don’t gush about pretty cover art enough, in my opinion.
The Novice, by Taran Matharu, was published in 2015 by Feiwel and Friends.
I really wanted to enjoy The Novice. The cover art is eye-catching, the premise seemed intriguing, and the summoning aspect of the novel was interesting. I could ignore some of the other worldbuilding flaws as long as the summoning continued to be interesting, and for a book that started on Wattpad (*shudder*), some of it seemed pretty decent, if plagued by mistakes that first-time writers often make.
But, eventually, I couldn’t get past the characters, their terrible characterization, and the stilted, clunky dialogue.
There is no nuance in any of the characters. The main character, Fletcher, is pretty much perfect: he has a rare demon, his flaws in magic are made up for in his innovation and outside-the-box thinking, and he’s perfectly good and true and just. The lack of nuance means emotion is expressed too strongly, and gray areas are never addressed. There’s “Fletcher (and his friends and the commoners)—good” and “Nobles—bad” type conflict, and the characters act as if they’re ten years old, shouting at each other, screaming, and making melodramatic statements at every turn.
The world also falls apart once you even start considering the mechanics of the summoning school. Apparently the rules are able to change at a whim—no one bats an eye when the tournament format is changed last minute to suit the evil teacher’s desires (and this teacher is one of about three teachers at this so-called famous school), and this teacher apparently didn’t even have to fill out any forms or discuss it with a council or anything. In addition, there seems to be no sense of structure or discipline—students go or don’t go to class, are allowed to leave the school apparently at any time and come back at any time, and don’t seem to be on any sort of schedule or regimen (despite the reference to timetables).
Then again, there’s only three teachers, so how are they supposed to keep an eye on all of these wandering students, anyway?
Plus, Matharu’s stark, black-and-white, all rich people are corrupt worldbuilding grows tiresome after the –nth instance of telling rather than showing.
And don’t even get me started on the number of comma splicesin every single dialogue.
I wanted to like The Novice, but its Wattpad beginnings are too obvious, and its worldbuilding and character flaws too numerous, for me.