Fair disclosure - I haven't read the original "Hollow" trilogy, to which this book is a companion. But even so, "The Beautiful and the Dam...more3.5/5 stars.
Fair disclosure - I haven't read the original "Hollow" trilogy, to which this book is a companion. But even so, "The Beautiful and the Damned" is a tightly-written, nice, short, companion book which gives the audience a small taste of the original "Hollow" world while creating an entirely new world with elements that were introduced or hinted at in the original text. Even if you haven't read the original trilogy, if you're looking for a read to devour in a short amount of time, I recommend "The Beautiful and the Damned". Even if you may get a bit confused.
"Find Me" was a pleasant surprise. I wasn't expecting the incredibly tight writing and quick pace, as well as the plot-driven elements to this book. W...more"Find Me" was a pleasant surprise. I wasn't expecting the incredibly tight writing and quick pace, as well as the plot-driven elements to this book. While coming in at a short 288 pages (in ARC version, at least), this was a fun read to devour in more or less one sitting. However, I still had a few issues with it, but even so, "Find Me" is a fun cyberpunk-lite mystery that will definitely leave you wanting more.
Yet another multiverse book to add to the YA canon! And it's pretty great. There are some things that I felt held the book back (hopefully...more3.5/5 stars.
Yet another multiverse book to add to the YA canon! And it's pretty great. There are some things that I felt held the book back (hopefully these were edited out, as I read an ARC version), but otherwise, Jonach has put together a relatively suspenseful little book here. I think those just dipping their toes into the multiverse genre pool will do well to start with "When the World Was Flat".
My biggest issue with the book: Several. Pace was one of them, as was the "Rule of Repetition" (though that starts to make sense later in the book, I'll admit), and generally, I wanted to see more of the multiverse that Tom and Lillie than we got to see. I feel like that was the biggest hang-up of all - Tom talks Lillie through his/their trips through the multiverse to the audience, but we don't really see much aside from Fourth Dimension and the original First Dimension on Tom's side of things. I found that quite frustrating, and since I'm all about showing instead of telling, it brought down my enjoyment of the book quite a bit.
The pace was a bit uneven in places - quick for long periods of time within the story, then all of a sudden, bam! An almost full stop. While I think Jonach was trying to get us to reflect on how Lillie and Tom were starting to really connect with each other, and how that connection was creating ripples and disturbing everything and everyone around them. While this works great as a standalone, I can also see enough material for a sequel as well (or a prequel - preferably that), and I wanted more on Tom and his multiverse misadventures (as well as more on the Circle), not just Tom and this Lillie starting to recognize each other. More expansion into his character would have been great, since we get to know the rest of the main cast so well.
However, I'll definitely say that Jonach's strongest point was her characters. Lillie, Sylv, Jo, Deb, and the rest were very strongly and sturdily constructed. I felt like (with the exception of Tom), we got a very strong main cast, where they felt very 3D and very real. The one caveat here was Tom - until he starts connecting with Lillie (more on that later in terms of romance), he feels very much like the stereotypical new boy in a YA book. He feels a bit flat, and though I think Jonach's goal was to make him mysterious, as I've stated previously, I wanted more. Even when we do get more of his backstory (which help builds the world), I still feel like he only made it to 2.5D out of 3D in terms of realism in a character, and I really hope that was fixed in the final version. But otherwise? I loved these characters, even with Lillie's repetition tic, and I didn't want to leave them when the book ended.
The world: much like Tom as a character, I felt like it needed work. Green Grove felt flat, and while we got more through the characters sharing their backstories and such (as well as Lillie's strange dreams), it still didn't quite feel real, and it felt like something that was propping up the characters. The most real the world felt was during Tom and Lillie's flashbacks of the Evacuation - and that's where Jonach's sensory language really came to life. The rest of the time, it needed a bit of work. I didn't appreciate the slut shaming, though, that went on with Lillie before she got together with Tom, though, so I deducted points for that.
The romance: Admittedly (even by Lillie herself), there's a bit of instalove going on on Tom's part, but Lillie really works and figures out that she does want to be with him. Which was nice to see. I love when you have two characters who snark and fight and then, finally after everything, get together. But when Tom gives his Big Reveal about the First Dimension, even Lillie admits it's pretty much instalove on his part. Which was refreshing! I loved that. I love it when a character (and behind her, the author) can be honest enough to admit that. It's something very rare in YA, and it was great to see.
Final verdict? This one you may have to stick with awhile, guys, to really feel the flow and latch onto the story. But because the characters are so strong, I think that many that are just getting into the YA multiverse genre will dig it. "When the World Was Flat" is in stores now in North America and the UK from Strange Chemistry, so be sure and check it out when you get the chance! And be sure and check out the blog in October for a Q and A with the author for the blog tour!
(posted to goodreads, shelfari, and birthofanewwitch.wordpress.com)(less)
"What's Left of Me" was definitely in my top ten of my favorite debuts of 2012, and so I was really, really happy to get a copy of this ne...more4.5/5 stars.
"What's Left of Me" was definitely in my top ten of my favorite debuts of 2012, and so I was really, really happy to get a copy of this next installment in the series, "Once We Were". While not quite in frenetic in its pace (except for the last quarter or so), "Once We Were" is a quieter book that reflects on what has happened in book one, and what's on deck for Addie, Eva, and the rest of the hybrids on the run, as well as delves a little deeper into the differences between Addie and Eva in pretty much every way. So for those that want that non-stop action from book one may be a bit let down, but "Once We Were" is just every inch as good as its prequel - just a little emotionally deeper.
Since the technical areas were more or less just as awesome/flawless as book one (though pace did lag a bit, admittedly), I'm going to delve a little deeper into the issues brought up in the book, and maybe try a little analysis/speculation/meta. I'll try to keep it as spoiler-free as possible.
If there was one word I had to pick for this book, it would be "growth". This book is all about growth in so many areas. It's about Addie and Eva, growing both together in one body, and apart as separate entities/people. It's about growth in terms of adolescence - the last phase of innocence of childhood, the shedding of the last ignorances of the world that we wear around us as people before we become adults. It's also about the growth of the world around the Americas, and the Great Wars (Civil [speculative], WWI and WWII [explicitly mentioned]), and the growth of a people on two continents from mild fear into witless terror of the hybrids, by a government grasping on whatever it can to survive, and keep control. And finally, it's the growth of a bunch of people, brought together by pure circumstance, creating and growing their own resistance in order to survive.
The growth of Addie and Eva, and both of them as separate people is obvious. This is where I think where the book slowed down for a lot of the early readers. Addie and Eva very slowly start testing the limits of the body their share, as well as the mind - how long can they "disappear"/"submerge"/"sleep"/"dream", leaving the other soul to have sole control of the body for a certain period of time. They also start testing the limits with each other, both attracted to different boys, and both having to share a body that will be touched by a boy they don't consider theirs (there's a very sensorily vivid scene with Addie, Eva, and Jackson about halfway through, but that's all I'll mention when it comes to spoilers). How does that feel? How long can they can they keep being patient with that other soul, allowing them physical and emotional time with someone that isn't each other? Zhang uses free-form poetry to describe the "dreaming" times of the souls when they leave the other alone, and those are quite vivid, as well. I can see why it might not have worked for other readers - free-form poetry isn't for everyone, especially when experimentally stuck into a traditionally-structured novel. But for me, it worked. It made sense. It made the sense of "dreaming" and separation from that other soul, as well as how far deep down the bond to the other soul went all the more vivid and real.
There's also the sense of psychological growth - from being a child, trusting everyone who helped them get to Anchoit, to becoming an adult - an "awakening" (which made a really nice contrast to the "dreaming" the souls do when they "disappear"), and a loss of innocence. Is the resistance really the best path for Addie and Eva, both together as one person in one body, and as separate entities? Can they really truly trust who is taking care of them, keeping them out of the hands of the government? And can they keep up this path without destroying themselves, each other, and the budding (and established) relationships around them? The rebellion as a metaphor for growing up (that's how I saw it, at least - just a bit of meta on my behalf) was very finely wrought, and you weren't bludgeoned over the head with it. Even if the pace is slower here, I don't think it's an obvious part of the book on the whole as a metaphor, though there were some scenes/chapters that were very obvious about it as individual parts building the whole. You have to look beneath the surface just a bit. Pay attention to the scenes were Addie and Eva are learning how to "disappear"/"dream", and I think you'll see what I saw. At least, I hope so. Even if it was unintentional, I have to give a golf clap for Zhang for pushing the psychological envelope there. In a lot of YA, we see obvious, explicit (in terms of being mentioned and established as official events) awakenings and losses of innocence, but I think that there's a little less of this quieter examination of the fine line between childhood and adulthood, and what it takes to pitch one over the edge into adulthood.
The world also opens as we see more of Anchoit - we get some important information about the world in general, and how it's different in terms of alternate timelines/histories since the US Civil War (this was hinted), and WWI and WWII (this was explicitly touched upon). We also know how far the control of the anti-hybrid government reaches in terms of physical geography, and how the world around it has progressed, basically leaving it behind. I won't spoil anything, but comparing The Americas (as they're called) to Soviet Russia would be a pretty good comparison. Technologically behind by a few decades, trading with whatever country that will continue to side with it and supply it, and so forth. Not a ton of information, but we get a few more bones thrown our way to furnish the physical world of The Americas in our head as we read through this series.
Final verdict? While there is a LOT of exposition (Zhang almost gives George R R Martin a run for his money with the amount of exposition here), there's also a lot of good sensory input as well. "Once We Were" doesn't disappoint, at least, not for me. "Once We Were" is out now from HarperTeen in North America, so be sure to check it out when you get the chance. And be sure to stop by the blog on September 20, 2013 for a guest post by Zhang on the process of writing a sequel!
(posted to goodreads, shelfari, librarything, and birthofanewwitch.wordpress.com)(less)
The multiverse books just keep on comin' in YA, and that's a happy, happy thing. I love reading about multiple dimensions and alternate hi...more3.5/5 stars.
The multiverse books just keep on comin' in YA, and that's a happy, happy thing. I love reading about multiple dimensions and alternate histories or universes, so "3:59" was definitely on my TBR list. And while it didn't quite live up to my expectations, it was still a fun book, and I think a lot of people (especially those just getting used to the idea of reading multiverse lit) will enjoy it. If you're looking for a good rainy day book, or a book to consume in one day, make it "3:59".
My biggest issues with this book: predictability, and insta-love. There were a lot of moments after Josie went into Jo's universe/life that I saw coming way down the road, and that definitely brought down my enjoyment of things. The insta-love definitely made the book harder to stick with, admittedly, but didn't ruin it entirely.
So, Usagi, you ask, why 3.5 stars if those two elements brought down your enjoyment so much?
The answer, dear reader, is that even with those flaws, three stars are for a pretty solid book (McNeil is pretty dependable when it comes to solid, thrilling books), and the extra point five is for sheer entertainment and great breakdown of the science behind all of the shenanigans that take place in the book. The explanation of brane theory, combined with general m-theory and quantum physics, made it extremely accessible to the YA audience - and I'll definitely say it's one of the better, accessible explanations of all of that science in YA right now. McNeil did her research, and I gotta give her props for that.
The main cast could have been better. Specifically, I felt that at times that Nick and Madison were propping up Josie (in both universes) as the backstabbing best friend/natural nemesis mean girl and the unrequited love/cheating boyfriend. I feel like they could have been deeper, and richer as characters, but as I read on, I quickly figured out that this is a plot-driven book. Mainly. While I prefer character-driven, or a equally balanced plot/character-driven book, this one was a lot of fun, and when you have plot-driven books, it's become common knowledge that the characters that are in the main cast but that are not the protagonist tend to suffer. Jo and Jo's Mom could have been a little bit more fleshed out too (I read the ARC version, so hopefully this was edited in the final version). So that was a bit disappointing. But the sheer plot and pace made up just a bit for that lack of a robust main cast, so that was okay.
The great stuff was definitely with the Nox, and though I feel like their origin could have been depicted a little more clearly, or with a flashback or something instead of a simple footnote in the general Jo-verse backstory, I really liked them. Crazy beasts that you can't see, are inter-dimensional, and literally shred the flesh from your bones in minutes? Me gusta. I wanted more with them (hell, a whole prequel would be awesome), but what we got was pretty great. The predictable part was with Josie's relationship with the Nox, and while I did kind of sigh and shake my head there, it was still a fun spin on the "chosen one" trope that seems to develop halfway through the book for Josie.
There's also the element of a retelling of "Through the Looking Glass" here (literally), that I thought was really fun, but it felt a bit like wasted potential as I felt like McNeil could have used that more to her advantage with Josie in Jo's universe, giving it more of a twisted "wonderland" feel than what we got (a paranormal dystopia). However, again, what we got was enough, and it was fun, so I enjoyed it. And McNeil always excels at sensory imagery and language, so her brilliance in that technical area did help make up for many of the other flaws in other technical areas. The Nox attacks were my favorites, as were the trips through the mirror - they were horridly vivid, and gave me happy tingly shivers down my spine in terms of sensory imagery.
Final verdict? I'm pretty split on this one, guys, and since I read the ARC, I'm hoping that all of the flaws I found were edited once more before the final copies went out. Even so, this was a really fun book, and one I'd recommend to beginners in the multiverse genre for YA. "3:59" is out now from HarperTeen, so check it out when you get the chance!
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Because this book was more or less just as awesome in terms of all of the technical aspects of writing when compared to book one, I'm going to instead...moreBecause this book was more or less just as awesome in terms of all of the technical aspects of writing when compared to book one, I'm going to instead focus this review on one very interesting theme that I found ongoing throughout this installment of the series, and there will be some speculation if some of the finer aspects of that theme were intentional or not on Kristoff's part. That being said, it's no surprise that the followup to "Stormdancer" was awesome, but it felt like Kristoff grew a great deal between both books, and it shows. We're moving more and more into adult territory with not only what actually happens plot-wise with Yukiko and company, but with themes and the like. And it's a lovely thing to behold. If you've read "Stormdancer" and liked it, you're going to love "Kinslayer".
I love the fact that the time-travel/multiverse genre finally, FINALLY has a firm foothold within YA lit as a whole. "All Our Yesterdays" is apart of...moreI love the fact that the time-travel/multiverse genre finally, FINALLY has a firm foothold within YA lit as a whole. "All Our Yesterdays" is apart of that foothold, and while it had its flaws, I genuinely enjoyed it. Or, as the Doctor would say, it's full of wibbly-wobbly-timey-wimey fun. And murder. And torture. And love. Pretty much everything I want in a book. Terrill has created a fun, fast little book here, and I think a lot of those in YA craving more wibbly-wobbly-timey-wimey books are going to enjoy it. If you're looking for a quick, mindbending read, definitely check out "All Our Yesterdays".
Originally, I was going to give this book 3.5/5 stars, but I decided to round up based on the sheer fun factor, even with the questionable issues concerning how Terrill represents the fourth dimension/time travel/multiverse scenario(s). This book is a lot of fun, and yes, can be incredibly predictable when it comes to some of the big reveals, but generally, for a debut, knocks it out of the park.
My biggest issue: the character development. Even though this book is only a little over 350 pages, Terrill really could have squeezed a little bit more character development (and character journey/transformational arcs) into her prose. What we get in this book is a very uneven mix between plot-driven and character-driven prose, which is always more than a little unsettling for me as a reader. I always want one or the other, or an even-ish mix of both from the author, and it felt like in the ARC copy I read, Terrill couldn't quite decide which she wanted to drive the book more. While she does develop everyone (including their future selves, but I won't say who those people are) adequately enough to keep the story going (and keep me turning the pages), she does stray a bit into Em's views on Marina, and vice-versa, giving us just a bit of character development along with flashbacks and other bits of backstory we get a little late within the story (and that info could have been given earlier, imo, but you get the idea). I kind of wanted more of that throughout the book, evenly distributed, but with the amount of how much the plot drives the book, there just wasn't room. So, I think you can see my issue with Terrill kind of changing her mind when it came to character development and the question of character vs plot-based for the prose of her book.
There is a question of insta-love with the romance between Finn and Em - though I won't spoil (too) much, there are moments within Em's flashbacks where Em seems to love Finn just because he's simply there, and they're both pretty traumatized and looking for comfort, and that felt far too simple for me. It didn't really quite feel developed enough (much like most of the characterization throughout the book) to feel like a real romance, but when you do read the prison scenes, it does feel a bit more real, given what they've gone through and how long it's been since they've seen each other prior to the events in the novel.
However, everything else was great. The plot and pacing were awesome (and the general commentary on time travel made me chuckle, since everyone's been debating paradoxes and the like for ages in the community), the action scenes vivid, and generally kept me hungry for more until the very last page. I loved that little question given at the end - in each universe where our different selves do/say different things, do we remember those things our different selves did/said? It's something I've always asked myself, and I love that Terrill broached it in this book. In fact, I'm not sure any other YA time travel book has talked about that idea about time travel so far. I also subscribe to the main theory of time travel in this book, and generally, the idea of it was well-explained (though it had some continuity gaps) but not too-dumbed down for the reader. Which is always a good thing.
In terms of showing versus telling, the one area where I wanted more showing was the dystopia police state created within the book. We get a quick summary by both Finn and Em at different times and through different flashbacks, but I just wanted to see more of it in general. Otherwise? This is a very vivid, well-worded sensory book that you'll definitely have fun with. I know I did.
Final verdict? While not perfect, this book was a blast, and it makes me want to read more of Terrill's stuff. "All Our Yesterdays" is out now from Disney-Hyperion in North America, so be sure to check it out when you get the chance!
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This is not an easy book to read. Nor should it be - "The Lost Girl" deals with some of the uglier aspects of grief, including things peo...more4.5/5 stars.
This is not an easy book to read. Nor should it be - "The Lost Girl" deals with some of the uglier aspects of grief, including things people are driven to do in order not to experience the loss of a loved one. This book has everything for everyone - a bit of romance, some sci-fi/fantasy, issues on bioethics, a coming of age tale, and the questions of "what makes me me?" and "what really makes a family?". Make no mistake; "The Lost Girl" should definitely be YA required reading in how raw and powerful it is, and how it refuses to shy away from how we deal with death in Western culture. It's absolutely gorgeous in all technical areas, so in this review, I'll talk more about the issues raised in the book instead of analyzing things in my traditional way.
It's no mistake that I'm seriously disappointed with the way we've been treating our dead in Western cultures and societies within the past 90 years. We dump them in the ground in a box, we burn them and dump them elsewhere, and yet we, for long periods of time, refuse to acknowledge that they're really gone. Up until the late 1930s, I found out through my own family stories and genealogies, that people in America didn't always use funeral homes - especially if they were closer to the poverty line. They laid out their dead in the living room for the wake, and then had them put in a coffin and laid to rest. When I heard about how late the date of that was (I thought Americans had ended that practice around 1900), it was shocking. We had a lot better of a relationship with our dead up until the 1930s, and then a huge dissociation happened. Perhaps it was the advent of the middle class and more money, or perhaps it was the advances of science in terms of embalming, but for better or worse, we've left behind that intimate and important relationship with our dead and have relegated it to history. Now we take a very cold approach with our dead - literally, we freeze them until we're ready to cry over them and then let their bodies rest.
So naturally, when I heard about this book, I had to read it. In an alternate world, where there are "Weavers", if you pay enough money you can get an "Echo" of your children or your spouse made in case they die before their time. They must grow up to become their "Others", by literally studying their lives and altering their appearances to look so perfectly identical that they can quietly be inserted upon the death of their Other so that no one notices. "Frankenstein" is forbidden reading (and yet, "Brave New World", which I find to be far more callous and expository about artificial life, seems to be okay even though it's not mentioned) because it involves how the Weavers and the Loom work. In parts of the world, Echoes are bounty for hunters, and in other parts, completely legal. There is no one-world-order decree on them, making for very fascinating geopolitical/cultural discussions in terms of what's okay when grieving a loved one, and what's not, and how the Weavers may not really be a boon to the wounded grieving for their dead after all.
This book is about many things, death above all being the main theme. Eva, as an awesome heroine who risks everything to become herself (even after trying very hard to do what she was made for, to be Amarra, her other), even at the threat of "unweaving" from the Loom. Amarra's mother is the only one in the family who doesn't seem to get that Eva is not Amarra, another very interesting dichotomy in the text. The little brother and sister seem to understand, as does the father, yet the mother does not - or rather, refuses consciously to understand who Eva actually is, and doesn't understand that by creating the echo Eva, she's basically negated Amarra's death. And that's a huge injustice that should never happen to anyone. Death and birth are of equal importance, and I think I can safely say that Amarra's mother is a huge symbol of how we in the West treat our dead. There's a saying I like to use - Westerners don't die, Americans definitely don't die, and Californians die least of all - and Amarra's mother, even when living in Bangladesh, seems to embody that motto.
This book has a lot of introspection, so if you're looking for plot-driven action and romance and swooning girls and hunky boys, you really need to go elsewhere. I suspect a lot of the YA set won't like this because it's not filled with paranormal romance or love triangles that have been manufactured steadily since "Twilight" burst out onto the scene almost a decade ago. This book asks you to think, asks you what you would do in Eva's situation as an Echo - would you risk your own death by becoming your own person, your own self? Or would you take the path of Amarra's parents - having copies of all of your children made, ready and waiting in case they die too young? And all throughout there's the question of bio-ethics, which Mandanna slyly deals with by making Echoes legal in the West, and illegal in the East (in this case, India) - which easily shows about how drastically different our cultures deal with death. Those in the East live with their dead everyday, and once we have our funerals those in the West just don't. And should it be legal to have such things as Echoes wandering around at all, trapped in lives they never asked for and being forced to perform what we, by the end of the book, know to be a total farce and shell game?
Final verdict? EVERYONE SHOULD READ THIS BOOK. EVEN IF IT MAKES YOU UNCOMFORTABLE. It really begs important questions from its audience, and puts you in the place of all of the characters - of Amarra's family, of the family Eva makes with those who have raised her, of those who Weave at the Loom, of Amarra herself (when she's alive), and everyone in between. It's incredibly sad at times, and you'll definitely cry some by the end of the book - get your tissues ready. But it's a healing sort of cry, at least, in my case it was.
"The Lost Girl" will be out through HarperTeen in North America August 28, 2012, so be sure to check it out then. It's made my best of 2012 so far list, and its place there is well-earned. Highly recommended and definitely worth the read!
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Oh, you guys. I was so excited for this one, and it delivered. I think it's safe to say that Blake has proven herself an awesome talent in YA/NA lit (...moreOh, you guys. I was so excited for this one, and it delivered. I think it's safe to say that Blake has proven herself an awesome talent in YA/NA lit (it's kinda hard to tell whether this one is mature YA or NA just due to the horror/gore imagery alone). If you liked "Anna", but wanted more, I think you guys are going to love "Antigoddess" - I know I did. One of the more original looks at the Greek pantheon and the Trojan war (plus "Iliad/Odyssey"), "Antigoddess" has a little something for everyone - horror, love, rage, revenge, and of course, teenage shenanigans. Definitely one of my favorites of 2013 so far.
What I think I loved the most about this book: unlike so much YA/NA lit that does retell old myths, this one sticks by its guns in terms of violence and anger of all of the characters involved. I mean, come on - there was a lot of backstabbing (most of it literal), sword fighting, and wars in those myths, and Blake definitely kept it real when she brought back the famous romances in those myths, yet didn't make them YA/NA cliches. There was no dumbing down of anything, nor blunting of feelings. No love triangles with the girl wringing her hands helplessly wondering which guy to choose. No forgiveness for when feelings (or other certain acts) were forced upon a girl by another. There are loyalties, and it's hard to choose which side you want to be on - do you want to win, and go mad? Or do you want to possibly lose, but do it with honor and die anyway? "Antigoddess" asks us these important questions that have cropped up in all lit (but specifically YA lit as of late), and asks us to think hard, showing us what might happen to each side.
While the pacing of the book can be slow at times, Blake more than makes up for this with the action sequences, along with the memory sequences with all of our main cast involved - specifically, that of Aphrodite's golden apple contest, a montage of Odysseus' journeys, and Hector and Achilles' battle with Andromache watching along the wall of Troy. These sequences pop up multiple times throughout this first book of the series, and it really helps build the world, comparing it with the modern world of now, with Blake slyly asking us between the lines about how much has really changed in the last thousand years. These experiences, both recent and ancient, help build all of our characters, and our characters help build the world through the relationship web school of worldbuilding, which was a great move on Blake's part. It made her job easier, yet it didn't let her take the easy way out. She had to remind us of some of the more obscure happenings in these classics, and that helped us build the world as well as the audience just in our participation. It felt like while writing this book, compared to the "Anna" duology, Blake grew leaps and bounds - and she was already really good in all of these technical departments to begin with. And I guess, that's saying a lot.
Finally, the sensory language and imagery. If the image of feathers choking Athena to death, or Hermes losing so much weight that his body eats himself doesn't show you how much Blake has grown in the sensory department (and damn if she wasn't great in it with "Anna")...well, just keep a watch out for some of the other predicted ends of the gods are laid out. I think I can honestly say I'm going to have a few nightmares about Poseidon, but I won't spoil him otherwise. Good job, Blake. I tip my hat to you.
(Also? I love how the reincarnated characters were made to remember their past lives. Very merciless. Very clever. Bravo!)
Final verdict? If you're looking for some particularly realistic, fresh turns on some old classics, you really don't want to miss this release. "Antigoddess" hits shelves September 10, 2013 in North America so definitely check it out when you get the chance. It's definitely in my top ten of 2013 so far for a reason.
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